It’s a music writer cliché to say that something takes a genre from the past and makes it fresh again, but the shoe—or the neon blue shades—fits with LA’s Dam-Funk. His resuscitation of ‘80s R&B and boogie provided for hands down the best music of the summer, instrumentals that glisten and glide with burbling bass and greasy synth solos that in a perfect world would last forever. But what’s best about Dam-Funk is that he’s reverent of his funk heroes without allowing that to bog him down. Instead, he uses their music as the blueprint for an intergalactic strand of instrumental hip-hop that is distinctly his. There is a song here called “Searchin’ 4 Funk’s Future”—it’s nine minutes long and two hours of music come after it. I think Riddick is too humble to realize that he might be it.
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A funny thing happened to Disney’s Bedknobs and Broomsticks on the way to its 1971 general theatrical release. Clocking in at over two hours and thirty minutes, the roadshow version of the title (offered for special engagements) was considered too long. Company executives, concerned that the film’s target audience - children - would find some of the slower, more somber material boring, demanded it be cut. So out went three songs, an extended dance sequence, and a few minor subplots. As a result, the film many of us grew up with (and loved) is not the work director Robert Stevenson intended. The man behind Mary Poppins, as well as many other House of Mouse classics, saw his vision undermined for the sake of business concerns.
Thankfully, DVD reintroduced the original cut - or as close to it as possible - in 2001 (it had turned up on laserdisc in 1997). As part of a 30th Anniversary package, Disney included as much of the found footage as possible, though the sequence “A Step in the Right Direction” remained lost. Fans quibbled a bit, unhappy with the dubbing of some sequences, noting that some of the replacement voices did not match the original actors very well. But overall, they were ecstatic to see the film restored. Now, eight years later, Disney is releasing what they call an “enchanted musical edition” of the film, boasting a new “Wizards of Special Effects” featurette. However, aside from this minor bit of added content, nothing else is new. It doesn’t mean the movie’s not worth your attention. It’s a gem and one of Disney all time greats.
Forget 2012. If 2009 marked the apocalypse, Scars would make a fantastic send-off for planet Earth. In their dependably inimitable manner, Basement Jaxx have crafted an album that fuses together beats of numerous styles and orientations. Scars distills a good half-century’s worth of dance music from around the world—ska, Euro-pop, bhangra—and funnels it through the genius of Felix Buxton and Simon Racliffe. Santigold, Yoko Ono, and Yo Majesty lead a motley crew of guests who bring a distinct flavor to each production, which makes singling out one defining track a futile enterprise. However, if today is all we had, and tomorrow ceased to exist, I know I’d want to face my mortality with the voices of Sam Sparro (“Feelings Gone”) and Lightspeed Champion (“My Turn”) leading the way.
It has been called “the single most important day in the career” of Johnny Cash. The date was January 13, 1968, a year that will forever go down in infamy in American history on account of the shocking assassinations of Dr. Martin Luther King, Jr. and Robert F. Kennedy, not to mention the infamous Tet Offensive. January 13, 1968 was the day Cash stepped through the gates of the notorious Northern California maximum security prison at Folsom—flanked by his ever-present entourage of his then-fiancee June Carter, Carl Perkins, the Statler Brothers, and his longtime backing band the Tennessee Three, as well as a posse of suits from Columbia Records, including legendary house producer Bob Johnston—to perform before a mess hall of inmates. There were two performances that day, one at 9:40 am and the other around lunchtime. Both shows were recorded by Johnston and his crew, although the first show was exclusively used for the official record, after Johnston felt that Cash didn’t quite deliver with the same fire the second time around. But now, for the first time, both sets have been made available as part of this beautiful Legacy Edition , along with an informative DVD with a documentary on Cash’s trip to Folsom, featuring interviews with Roseanne Cash, Merle Haggard, Marty Stuart, and several former inmates who attended the iconic concert.
(Hidden Shoal Recordings)
The cliché ‘all killer, no filler’ is often bandied around with very little to back it up. In the case of Mukaizake’s stunning new release Unknown Knowns, the cliché applies. Unknown Knowns kicks off with the fuzzy propulsion of single ‘The Yeah Conditioner’, immediately launching the listener into Mukaizake’s compelling corner of the musical universe. This is serpentine indie-rock at its finest, weaving hook after hook around your chest until you’re suspended from the clouds, a grin plastered across your face, unable to even think about listening to anything else.
“Part math-rock, part jangly dream-pop, the six songs are a beguiling dive into the oceanic sounds of 90’s indie rock. Vocalists Geoff Symons and Erickson can both actually sing with clarity, lending the songs a sort of choirboy purity, even when singing about slashing tyres… The outcome is a pristine and intelligent composite of sounds old and new… It’s a heady combination.” – Rave Magazine.
1. The Yeah Conditioner (Single)
2. Rule Norse
3. Corporal Steam
5. My Friend Flicker
6. Slack Bees
The Yeah Conditioner [MP3]
// Moving Pixels
"In Reveal the Deep, the light only makes you more aware of the darknessREAD the article