We Don’t Need This Fascist Groove Thang: A Mix Series for Fall 2020

    “(We Don’t Need This) Fascist Groove Thang” is first and foremost a synth-pop/new wave song by the British group Heaven 17 released in 1981. While it was banned on some radio stations it still showed a strong performance on the charts and made its way into the collective consciousness with biting lyrics about both Thatcher & Reagan. It perhaps is emblematic of the political conscious that existed in certain ‘underground’ music scenes, while bridging the gap with the USA by exploring similar sentiments on display in such prominent punk/post-punk places like the Mudd Club. Musically, the song borrows as much from new wave & post-punk, as it does funk and the NY dance scene. While the lyrics explore a rejection of fascism and racism, the music too, rejects a “fascist groove thang” – in this case rigid categories imposed by the music industry. 

    After reading Tim Lawrence’s Excellent Life and Death on the New York Dance Floor: 1980-1983, the follow up to his also stunning Love Saves The Day: A History of American Dance Music Culture 1970-1979 and part of a book on Kraftwerk, I found myself listening to a lot of music that didn’t fit neat categorization. As an example, New York dance culture was a cauldron of punk, dance, funk, reggae, electro, and hip-hop. DJs would weave disparate genres into a singular vision, while often bringing together people from both uptown & downtown. As much as it was exciting music, it also served as a prophetic vision of how the world could be: one without boundaries and without rigid categories. A rejection of this fascist groove thang, if you will. It is also through this music that I came across the song by Heaven 17 & an excellent cover by LCD Soundsystem. 

"As much as it was exciting music, it also served as a prophetic vision of how the world could be: one without boundaries and without rigid categories."

    It was no surprise to me that Kraftwerk, an early electronic group from Germany, had a huge impact on dance music. Early hip-hop made liberal use of their tracks like “Trans-Europe Express” and “Numbers,” both serving as a template for what would emerge as electro and eventually influence countless producers of Detroit Techno & Chicago House. Upon reading about their work further, though, I realized the musical project of Kraftwerk went much deeper than technological innovation and creation of new mediums of dance music. 

    Developing out of the literal and cultural rubble that was post-WWII Germany, the German rock scene of the late 60s & early 70s was a result of a new generation in crisis. No longer were they able to draw upon much of their country’s rich tradition, as it was tainted by the very recent memory of Nazism. Exacerbated by the fact that members of the Nazi party were integrated back into society without much of a fuss, many young Germans were faced with the task of distancing themselves from the recent past while also having ex-Nazi teachers, public servants, and (in some cases) parents. Seeking to create something uniquely German, whilst also rejecting the totalizing force of Anglophone rock, musicians forged a new path forward through tape experiments, electronics, avant-garde music, free-jazz and rock. The result was patronizingly, and somewhat offensively dubbed “krautrock” by the British press, a combination of the ethnic slur for Germans ‘kraut’ and the unhelpfully reductive genre term ‘rock.’ Most bands adamantly reject this descriptor, which, given the inability for the music industry & press to deal with category-defying music, has stuck as a ‘catch-all’ term. These pioneering musicians didn’t want the fascist groove thing, either. 

"Inspiration came from those musicians that came before me who dared to imagine new ways of making meaning, culture & identity."

    So it is at this point that my musical project had started to take place, while also reflecting a lot on the state of the world: the shambles of which is pushing many to embrace dogma and trade complexity for simple answers. Inspiration came from those musicians that came before me who dared to imagine new ways of making meaning, culture & identity. 

    With this in mind, my series “We Don’t Need This Fascist Groove Thang” will, musically, attempt the rejection of the following:

1. A singular rhythm
2. A singular genre
3. A singular language
4. A singular culture
5. A singular lyrical theme

    Through this, it is my hope to express my profound rejection of totalizing forces that exist globally, that seek to reduce human differences, and, in most cases, reduce humans. I don’t want this fascist groove thing, either. 

    While I realize this may be somewhat on the nose, I attempt the project with utmost sincerity & urgency. Art has always been a place where complex expression of ideas can occur, transcending the boundaries between language, culture, history, and geography. It is my hope that this series will inject my lifelong project of presenting under-recognized music and broaden listeners’ horizon with cultural and philosophical significance. It is my profound belief that we are all better when we interact with cultures other than our own with respect and reverence, and I believe one of the best ways to do this is through music. 

"To improvise and create something lasting, then, is to understand the context, traditions, and skills that helped shape the practice."

    I also believe that a total rejection of structure is both impossible and unhelpful in nature. I believe that structures can exist to promote creativity & flourishing, although many times they do not. Structures that do not fulfill their purpose require serious re-evaluation and, if unsalvageable, a complete overhaul. Even the freest of jazz has some structure to it. Pure-improvisation is impossible, but so is pure-structure. In this sense life is like jazz, an idea I owe to Piet Mondrian, who I “sample” in my cover art. To improvise and create something lasting, then, is to understand the context, traditions, and skills that helped shape the practice. The following quote from Charlie Parker sums it up with force and succinctness: “Master your instrument, Master the music, and then forget all that bullshit and just play.” 

And that is exactly what I plan to do. In the face of uncertainty, I’m going to “forget all that bullshit and just play.” I still need a groove after all, but I know that I can’t do it all on my own. So I invite you to join me. I know a better groove is out there: let’s build it together.

Chris B. aka DJ Blue Funk, St. Paul, Minnesota 10/3/2020.

Putting music into words: a 2019 Retrospective

It’s hard for me to remember everything I listened to in the last year. Honestly it would be a miracle if I could remember half, since I am always hunting for music that is new & fresh to my ears. I did a significantly less number of mix uploads this year, however, I did complete more live gigs than ever before & had my first on-air radio broadcast. It was a very productive year for me musically, although I was plagued with the ever-present self-doubt that comes with playing empty rooms, playing the most amazing song to very little response, and ultimately wondering things like “am I making a difference here” or “am I moving in the right direction?” DJing has been just as much a journey of self-discovery & learning the ins and outs of the politics that accompany music programming and the industry at large. I've had my ups & downs, but it has been one of the most rewarding experiences in my life, so I intend to keep at it for a very long time.

All throughout the year, I strove very hard to stick to the original reason I got into DJ in the first place: share great music and make people happy. My mission as a DJ has led me to scour record bins, CD racks, websites, & the far-reaches of YouTube to find records from the past both forgotten & unforgotten, recently reissued records, heavily curated compilations, playlists, & new releases, always keeping an ear out for the best, most inspiring sounds. I don’t really care  when an album is released or if it is “new” or “old,” because what I care most about is the quality of the music. Sometimes a song with all the right pieces doesn’t quite do it. Sometimes a song that shouldn’t work just does. It all comes down to soul & passion I think, which, probably, is what continues to bring me back to music that draws heavily on the legacy of jazz & funk. I think these genres are capable of capturing energy, excitement, & grooves in a way that perhaps music that is not informed by them cannot. Artists tend to find their best expression in these songs because they are both tight & loose, they follow rules & break them, and allow for musicians to “stretch-out,” and create something unique & authentic.

All of this is to say, it’s really, freaking hard to sum up my year in current releases. So instead here are some albums & artists that have grabbed my attention this year. I have a tendency to make these lists far too extensive, so I will attempt to just list the highlights. If there are any glaring omissions, please know that I spent a much time thinking hard & long about this and well, nobody’s perfect… 

Leroy Hutson: 

I think the first big obsession I had at the start of the year was with Leroy Hutson. Acid Jazz Records had just put out a short film about him & I was making all kinds of connections. His work with Donny Hathaway, Curtom records, the fact that he produced Arnold Blair (whose single “Trying To Get Next To You” was already seared in my memory and in heavy rotation), in addition to the fact that his music was just so amazing, made me want to keep listening to his tracks. I kept finding stuff by him all throughout the year, and was lucky enough to find Feel The Spirit (1976) at a local store in mint shape. Whether I was getting my funk face on to “Let’s Be Lonely Together,” soaring to the disco-grooves of “Unforgettable,” or enjoying the sheer funky-soul delights that are “Never Know What You Can Do,” “Don’t It Make You Feel Good,” “Lucky Fellow,” “Love The Feeling,” “Lover’s Holiday,” or “All Because of You,” I knew I had come across a truly special artist who would stay with me for many years to come. I am also thankful that Leroy’s work has been getting some much-deserved re-evaluation & recognition in the recent years.

Rasputin’s Stash:

I found this release of vaulted recordings from '76 put together by Family Groove Records on Record Store Day without much previous knowledge. It seemed like they took the tracks for the single from side A, which was good, but side B really knocked my socks off. “Children of the Lord,” into “Time,” into “Cool When You Don’t Know It,” into “Paradise”? My mind was blown and my neck had been thoroughly tired out from furious bobbing. Another Family Groove release would catch my attention a big way later in the year, but this release opened me up to some great connections & increased my inspiration for curating a Chicago Soul Tape that I released in May. I was intrigued by the amount of records from Chicago I found particularly compelling this year, but to paraphrase the notes to that mix: Chicago soul captures the paradox of life that is the coexistence of hope & despair. Given the many hardships & life-circumstance I’ve endured in the last couple of years, it made sense that music fusing gospel & the blues appealed to me so much.

Marcos Valle:

Brazilian music has been of particular interest to me of late– if you’ve talked to me about music for even a second, this should be blatantly obvious. Last year was marked probably by obsessions over Jorge Ben, Banda Black Rio, Seu Jorge, & Erasmo Carlos, and while I have continued to shamelessly fawn over these artists, I found myself finding one artist I started listening to last year particularly interesting: Marcos Valle. 

Valle had already won me over with the Azymuth assisted Previsao Do Tempo (1973) and his boogie excursions of “Estrelar” & “A Paraiba Nao E Chicago,” but his 1971 album was something else entirely. With Garra, Valle succeeds in delivering clever critiques of the military regime with lush instrumentation that effortlessly merges pop, baroque influences, mpb, bossa, samba, funk & rock. Songs from this album pop up constantly as repertoire for singers like Clauida & Evinha, and “Wanda Vidal” was sampled by a certain rapper/actor/director that had his own hit-social-critique-song recently with “This is America.” Do yourself a favor and go listen to this album, I’m sure it will bring you much joy. I would also strongly recommend listening to Claudia’s version of “Com Mais de 30.” It is a dearly special rendition to me: I get goosebumps every time I hear it. 

This year was sealed as the year of Marcos Valle, as he released his much anticipated boogie-funk album Sempre in June. This album served as the perfect soundtrack for summer with jams like “Alma,” “Olha Quem Ta Chegando,” “Vou Amanha Saber” and “Odisseia” (which brought the Azymuth classic "Jazz Carvinal to mind) delivering heavy on groove, much to my delight. With Azymuth backing him up, there was no way this album was not going to deliver. 

Anderson Paak - Ventura:

Towards the end of July I had one of the most special moments in my life: I got married to my record-digging partner in crime, Evelina. We had both been huge fans of Paak’s output, but particularly Malibu. Both being somewhat underwhelmed by Oxnard, Ventura reminded us of the Paak that we love: sweet, soulful, cheeky, honest & vulnerable. The lead single “King James” bubbled with resilience & jazzy grooves, while the Smokey Robinson collab “Make It Better” captured my warm feelings perfectly as an ode to commitment & building a loving relationship. The rest of the album delivered on this more ‘soulful’ side of Paak and is a great listen from start to finish. Paak isn’t as adventurous here as he might have been on Malibu, but he does what he does so well, and with so much soul, I don’t need him to reinvent the wheel to command my attention.

Yamashita Tatsuro:

The wedding season also brought family from near and far. In addition to everything else wonderful about the season, it also resulted in some memorable musical exchanges, as well. My brother has been listening to a lot of Japanese rock & 70s stuff like Haruomi Hosono, Kosaka Chu, & Happy End and had pointed me in this direction, probably around 2017. When he came stateside for the wedding, he brought more Japanese music with him like Yamashita Tatsuro, Yellow Magic Orchestra, & Tin Pan Alley. It’s strange to me that it took leaving the country to appreciate so much of Japanese culture & art, but I guess sometimes you can’t see what’s right in front of you. Yamashita Tatsuro was certainly a familiar name to me, but the work he was famous for in Japan was a bit more poppy and not to my taste. It must’ve been my new found interest in Japanese music, the current obsession with “city pop” (catch all term for Japanese pop, AOR, & disco from 70s/80s) in DJing circles, and titles like “Funky Flushin’” that made me give Yamashita’s work another chance, but, boy, am I glad that I did. Especially his earlier albums simmer with pop-funk perfection, from downtempo cuts like “Solid Slider,” “Paper Doll,” & “Windy Lady,” to disco-funk monsters like “Silent Screamer,” “Bomber,” and the aforementioned “Funky Flushin’” I was sold. Soaring guitar solos, slap bass, & crunchy drums abound on these impeccably produced tracks. I am so glad to be able to reclaim some of my upbringing & re-connect with japan through music. As a side note, this year also saw a reissue of Minoru Muraoka’s amazing Bamboo & the worldwide release of the Minyo Crusader’s immense Echoes of Japan. This continues a trend of re-evaluation of Japanese music & bringing it to a wider audience, which I couldn’t be happier about, because it is AMAZING MUSIC that deserves to be heard! 

HE3 Project:

The Herman Ebertizch 3 Project. An unreleased jazz funk/spiritual soul project from Herman Evertizch III, unearthed and compiled by Family Groove records. I bought Chapter 1 on sale through Mr Bongo, on strength of the track “Make It Sweet” which was later re-done by Coke Escovedo, but I was so pleased when I listened to it in its entirety. I had never heard of Herman Ebertizch until this year, which makes sense, given that none of his sessions from the 70s were previously issued. I am so glad these recordings saw the light of day, with amazing tracks like “Funk Punk,” “Make It Sweet,” “Life is Tortured Love Affair,” and the luscious, spaced-out “Rapture of the Deep” making this release quite the tour de force. 

I was on the lookout for vol 2 & 3, but seeing how they had sold out in most outlets, I had contented myself with having vol 1 for now, hoping to run into the other two volumes eventually. Evelina managed to track down the 2LP vol 3 for me for Christmas, so I am excited to have the chance to listen to more by this amazing group. While he worked with such luminaries as Tiki Fulwood & Coke Escovedo, because his original work was not released until recently, I am afraid Ebertizch's work may remain obscure. It is a real shame because his music captures a hopeful attitude that deserves wider attention. I hope that I can tip more people to the HE3 project in the future, and that maybe Ebertizch's work will gain some much deserved acclaim. 

Sault - 5:

Another album that came out of nowhere and one of the few that actually made it on to some “Best of 2019” lists. Not much is known about Sault, other than the fact that their debut album 5 is, to quote one of their songs, a “masterpiece.” A band who can’t really be put into a neat box, Sault swerves & sashays around indie rock, funk, hip-hop, soul, electronica, post-punk & disco without ever quite settling into one genre, making it an exciting listen from start to finish. Not only that but the band somehow succeeds at sounding both “vintage” and “modern” at the same time, which on-top of the effortless genre-melding, makes this album quite the achievement. Check the Electro-afro-post-punk fusion of “Up All Night,” or the Cambodian fuzz-rock-breakbeat funk of “Don’t Waste My Time” and you will know just how futile it is to try and put this band into a box. The sweet laidback soul of the aforementioned “Masterpiece,” the downtempo disco that is “Why Why Why Why Why,” & the feel-good anthem “Let Me Go” are all stand-outs, but when half of the album is stand-outs, the term doesn’t really serve its function anymore: so just go listen to the whole thing and thank me later. 

In The Red - Chuwanga Records:
I was getting very much into a sub-genre of disco/funk called “brit-funk” in the fall, much due to the compilation entitled In The Red released by Chuwanga Records. Born out of cultural exchange & youthful expression, Brit-Funk captured a mixing of people from different backgrounds as well as musical styles, drawing on genres like jazz-funk & disco. In The Red by Chuwanga Records was a pariticularly helpful find in this journey, as it provided some much needed historical context, as well as a tightly curated collection of 6 tracks from hard to find 12-inch releases. My favorite was the title track “In The Red,” by Equa, which I have played quite a few times and included on my last mix of the year alongside my other brit-funk fave of the year: “Time” by Light of The World. 

Tim Maia: 

My biggest obsession of the year was probably Tim Maia. I mean, the man is a legend. Brought soul music to Brazil, started a musical & political movement, collaborated with the best musicians, joined a UFO cult, wrote the best music of his career with the most bizarre lyrics about a Universe in Disenchantment, Rational Energy, & a super world, converted fans, sold his albums door to door, quit the cult in a fury, and never stopped making great music. Maia had the foresight to bring funk & soul music to Brazil when not many others were paying attention to these genres. As a result, he kick started the Black Rio Movement, which caused a seismic shift in the musical & racial landscapes of Brazil. Maia always went big, and his effects can still be felt today. 

His most compelling recordings remain the ones he made while he was in the Rational Culture cult, which was an offshoot of an Afro-Brazilian indigenous religion by the name of Umbanda. There are a multitude of factors that might be the reason people find these recordings so fascinating. Perhaps it is the mystique or the sheer bizarreness of the whole affair; perhaps it was the fact that Tim was living a healthier life that led to better vocal & instrumental performances; or perhaps his religious fervor translated into passionate delivery. 

Whatever the case may be, these records are about as cult (ehem ehem) as a record can get. A strong underground following leading to soaring vinyl prices and collector’s status, to eventual reappraisal and widespread acclaim, Tim Maia’s Racional Albums are truly one of a kind. Thankfully, David Byrne’s Luaka Bop label had compiled much of Maia’s work from this period onto a delightful compilation, allowing us mere mortals to enjoy his cosmic sounds without breaking the bank. I have become quite the Tim Maia fan as a result, and if you ask me about it, you might be lucky (okay, unlucky) enough to hear me belt out “You Don’t Know What I Know” at our next gathering. 

William Onyeabor:

I quite honestly don’t understand why it takes me so long to give some artists a proper listen. Everyone was going nuts over Tim Maia, my wife (then girlfriend) sends me "Rational Culture" and it doesn’t really click, until only 2 years later I finally get it and Maia is all I can talk about. The Luaka Bop connection seemed to be fairly strong this year, 2 of my favorite listens were artists featured in their “World Psychedelic Classics” series. Onyeabor was another one of those artists, where upon hearing “Better Change Your Mind” I wrote him off as an amusing oddity. Well, that assessment turned out to be completely and utterly wrong. 

There’s a reason people like David Byrne, the Lidaju sisters, members of Hot Chip, LCD Soundsystem, and the Beastie Boys came together to form a tribute band to Mr. Smooth & Good himself, William Onyeabor. The man was an enigma, a complete mystery. Won’t answer interview requests and finally after the people at Luaka Bop make contact and asked about his music, he answers "why would I want to talk about that?" and hangs up the phone (thankfully he agreed to the reissue, though). Virtually nothing is known about Onyeabor, so the legend builds. Tales of importing synths from the USSR as a result of a film-study sponsorship, flopped film-making ventures, religious conversions, all swirl into a man whose story is more myth than fact.

But all of this just adds to his appeal. I mean, the man was a genius. Long before electronic dance music took hold of the world, Onyeabor was creating his own unique blend of Afro-funk & electronica. Given the trend of “Lo-Fi” music, Onyeabor’s music sounds even more ahead of its time, now, some 34 years after his last album was released. His sound, while drawing on many sources for inspiration, was entirely unique, and his mysterious persona only amplifies his legacy. I couldn’t stop listening to tracks like “When The Going Is Smooth & Good,” “Good Name,” “Fantastic Man,” “Love Is Blind,” “Everyday,” and “This Kind of World.” I think some people probably wrote this guy off initially, but like any visionary, with every year that passes, his music will remain timeless & only become more relevant. Luaka Bop’s compilation “Who Is William Onyeabor?” compiled essential tracks, but for completists like myself, the label has, thankfully, reissued his entire discography, too. We’ll never have the answer to the question posed as the title the compilation, but we will have his music, and ultimately I think that paints a better picture of an artist than any interview ever could. 

Altin Gun - Gece:

I think my growing musical tastes, as well as the people around me have caused me to listen to more rock lately. Given my excursions into Brazilian music of the 60s & 70s, I guess it was only a matter of time. Once I started paying more attention to these psychedelic sounds I found myself drawn to psych-rock from other countries as well. I don’t think there are many people in the US who know almost nothing about American & British psych-rock, but know a good deal about its Indian, Turkish, Brazilian, & Nigerian counterparts, but yet here I find myself. Perhaps I’ll get to the basics sometime in the future, perhaps not. Nevertheless I am happy where my globetrotting ears have taken me.

All this rock listening primed me for what was one of my favorite new releases of 2019: Gece by Altin Gun. From the heavy guitars of the opening track “Yolcu,” the effortless melding of folk & psych on “Vay Dunya” & “Kolbasti,” to the closing disco re-work of “Supurgesi Yoncadan,” the album never lets up, but like any album I like, what makes this one special is the funky groove that anchors each track, keeping the album rocking & funky throughout. The band does let the funk bubble to the surface with “Leyla” where the opening fuzz rock morphs into a middle section with a bass line familiar to those who follow the work of the brothers Isley. While grounded firmly in the territory of Anatolian rock, by incorporating a variety of influences including funk, folk & disco, this band is carving a new path forward, creating a sound that is both familiar & uniquely their own. Undoubtedly, one of the best releases of 2019. 

As I soldier on into 2020, I hope to keep listening & playing music from around the globe, sharing it with you through mixes & DJ sets. I have compiled a playlist of my top listens from the year into a handy YouTube playlist. My hope is that it will serve as a jumping off point, maybe you will find something you like and delve deeper into a sound or artist. As always, if you do find something you like, please leave me note! I’d love to hear about it & talk music with you. Also, if you can, go support the musicians that you listen to: buy some merch, the album in physical format, go see their show or pay for their album on sites like bandcamp. It’s hard being an artist, and music doesn’t pay for itself (especially when you’re independent), so consider contributing financially. If you can’t support artists financially, there are a lot of other ways you can support great art: tell a friend, leave a comment, send a fan-letter, share their music, stream their music, every little bit helps & hearing about music making a difference in a person’s life is (at least in my opinion) very rewarding in itself. Okay, I will get off my soapbox now. Thank you so much for reading and following my work. I hope you will continue to do so in the coming year, there's lots more music to be heard! Wishing you a groovy new year. May the funk be with us all. 

Record Store Day 2018

Line at Mill City Sound

Well, well, well, it's that time of year: the sun is finally out and shining here in the chilly twin cities, Minnesota, spring is here, and what better way to celebrate than national Record Store Day! My trusty digging partner Eveline and I grabbed some coffee and set out for a day of digging, music, digging & more digging!

First stop was Mill City Sound to stand in line for limited edition releases... Well, we didn't realize how much the fame of the record store had spread over the last year and the line was around the corner! We waited for a good 2 hours before getting to the record bins, it was quite the wait, but very much worth the wait! I grabbed the 2 7"s I wanted, Bernard Purdie's new record, The Messenger Incorporated's Soulful Proclamation re-press, and the new Delvon Lamarr Organ Trio live record (which I hear is now out of print!). I also managed to snag a Salsoul release I had my eye on for awhile: The Greatest Show on Earth by Metropolis (Check the breakdown on this track).

Finds of the day

We then made two quick stops at the Electric Fetus & Hymie's Vintage vinyl. The Electric Fetus was swarming with Prince fans & quite chaotic, so I just made a quick dip in the vinyl & CD bins, and picked up a re-press of Thelonious Monk's Monk's Dream, which had been on my list for quite sometime (it's a classic without debate, a shame I hadn't gotten into my collection sooner), and a funk comp by DJ Shadow. Then we moved onto Hymie's Vintage Vinyl, who always throws a mean block party–they were quite crowded again this year, so this was a quick stop too. I found the repress of Cymande's Promised Heights done by the ever-amazing Mr. Bongo Worldwide and a 7" of Hijack by Herbie Mann.

After these stops, some more coffee, and a short walk, we made our way back to Mill City Sound as I had the chance to DJ for the last hour of the day. I spun a mix of afro, latin, funk & jazz, all on 45s, which was a first for me, but I was incredibly pleased with how it turned out. Eveline had the luck of finding a repress of Ahmad Jamal's Awakening and brought it over while I was spinning, so I dug into my gig money and made my final purchase of the day. All in all it was quite the successful day & I was more than overjoyed to get to DJ on one of my favorite days of the year! Here's to Record Store Day & all the wonderful time it brings!

For those of you who missed it, Here's my setlist from Saturday complete with links! Enjoy:

1. Roy Ayers - Hey Uh-What You Say Come On
2. Harry Mosco - I Feel Funky
3. Derobe Dance Band - Gogoplata
4. Vaudou Game - La Vie C'est Bon
5. Gordon Henderson & U-Convention -
Hard World
6. Zebra - Simple Song
7. L.A. Boppers - Life is What You Make It
8. Prime Cut - Message to the Ghetto
9. 94 East - Games
10. Dawn and Sunset - Move In The Room
11. Q.A.S.B. - Good Guy
12. A.J. & The Jiggawatts - Party Music
13. Rufus Thomas - The Breakdown (Part 2)
14. Skull Snaps - It's A New Day
15. The Honey Drippers - Impeach the President 
16. James Brown - The Payback (Part 1)
17. Dennis Coffey - Ubiquitous
18. Delvon Lamarr Organ Trio - Concussion
19. Harold Mabern - I Want You Back
20. Orgone - Don't Stop
21. Julius Brockington & The Magic Force - This Feeling (Freedom) (Part 1)
22. Sharon Jones & The Dap-Kings - How Do I Let A Good Man Down?

"Oh hi Mark," thanks for a great day!

Till next time, Peace, Unity, Love & Having Fun ~ DJ Blue Funk

Windy City Digging: Dusty Groove

Well, well, it's been over a month without a blog post. What between giving a talk about funk music, starting a new job, and a few DJ sets, I've been completely swamped. I did, however, in the spirit of spring break season, manage to get away for a couple of days to the windy city of Chicago. It was nice to get away & do some sightseeing, but I especially enjoyed digging for records at Dusty Groove. Ranked the 3rd best record store in the US (by some list I'm not certain of), I was very much excited to visit, especially since I had been following them on social media for a few years now.


Chock full of 'dusty grooves' from Brazilian records, to gospel, to jazz & funk, this dig was a particularly good time, and my trusty digging partner Eveline and I dug up some real gems. Here are some of my finds!

Keep the Funk a Flowin' - Mojoba (7" Promo, 1976 Polydor)
I didn't really know much about this group when I dug this up, but given the title and the fact that it was marked down to a dollar, I figured I'd give it a listen. Sure enough, it was a jam. Turns out Mojoba is an abbreviation of the [MO]sley [JO]hnson [BA]nd. They released only 2 singles under this alias, but it looks like they released some albums under the title of Mosley & Johnson, in the later 80s. Either way, a great way to start off the roster of stellar grooves! Check it out here.




Stone To The Bone - James Brown (7" Single, 1973 Polydor)
Here's a man that needs no introduction: The Hitman! The Godfather of Soul, it's the one and only JAMES BROWN. I've been really lucky to find a lot of James Brown 7"s in the last year & this cut taken from the Payback album is another super-soul-sure-shot. Backed by Stone to the Bone (Some More), at $5.99, this 7" was a no brainer. Sampled by Del The Funky Homosapien in the irresistible "Mistadobalina," this tune chugs along in a true James Brown fashion, keeping it steady groovy, all funk & no waste. Check out the full 10 minute version here.



Message to the Ghetto - Prime Cut (7" Promo, 1973 Polydor)
I've been keen on collecting what are referred to as "message songs" and it doesn't get more straightforward than this. With the want to bring social issues to the forefront through the music that was birthed through them, my passion for funk has led me to countless songs about the hardships that the musicians & their communities have faced. This song is another stellar addition to my bag, with some gospel stylings, over a funky piano groove. The Prime Cut delivers the message and the FUNK. Fortunately I found a fairly clean copy, which was marked down from $19.99 to $6.99!
I was pleased to add this gritty anti-drug song to my bag. Do yourself a favor and take a listen to it here.


Zebra - Simple Song b/w I Forgot to Say (7" Single, 1974, Reissued by Athens Of The North)
This incredible funk jam came to my attention through the compilation Soul Spectrum Records Vol. 1 on the always quality Jazzman records. With a Kool & The Gang-esque horn line, pounding bass, kick-ass drums, and soulful harmonizing, this is a dance-funk sure-shot. While the original has become highly sought after & too pricey for this DJ, Athens Of The North has reissued the single in all its funky glory. Even though the flip is a run-of-the-mill slow jam that didn't really do it for me, with the strength of side A, picking up this 45 was a no-brainer! Jam out here.


The Mighty Clouds of Joy - 
Truth Is The Power (1977, ABC Records)
Here's a delightful slice of gospel, soul & disco from 1977 that I've been looking for for a while now. While the album has many gems, none will move you quite like the first track "There's Love In The World (Tell The Lonely People)." Starting with a piano intro, the track builds to an infectious piano-based groove, and the Mighty Clouds of Joy let loose with amazing vocals for a sublime slice of gospel disco. This one always lifts my spirits & I was pleased to get it on vinyl!


Olympic Runners - Don't Let Up (1976, London Records)
The Olympic Runners, for those who don't know, were a group of British studio musicians who laid down a few albums full of funky-funky cuts. Perhaps their most famous is the instrumental, "Put The Music Where Your Mouth Is." I still have yet to find a copy of that record, but I was familiar with this record through the sampling of the title track by hip-hop group Ugly Duckling. What I did not know was that the Olympic Runners was home to none other than Pete Wingfield who penned the ever-hummable, "Eighteen with a Bullet." Connections, man, it's all about the connections.
Thoughts aside, enjoy the funk that is "Don't Let Up" here.


Linda Williams - City Living (1979, Arista)
This album has two cuts that I was familiar with, "City Living" and "Elevate Our Minds." The former is a funky bass-driven dance number that might get filed under "disco" but really does without the kitschy sheen that has become somewhat associated with the 'genre.' (Disco really wasn't a genre so much as a short-hand way of referring to music played at discos... While the term has become associated with the more kitschier records of the era, there were a lot of great 'disco' records, too. These are lovingly referred to as "Dance Classics" in Japan, which is a title I quite like.) I first heard this by way of the Reflex's edit, which extended key segments of the song to great effect. I heard "Elevate..." on a disco comp I bought last year and while slower than "City Living," it's positive message, latin rhythm, and piano groove are just as infectious. So I knew this LP was well worth the purchase. Oh did I mention it was sealed & $4.99? Another no brainer, really.

Vic Pitts & The Cheaters - 
The Lost Tapes (2014, Secret Stash Records)
Now I still do not know a whole lot about this record but I did know two things: it's Minneapolis funk & it's on Secret Stash Records. These two pretty much guaranteed that this would be a great purchase, but I had the Dusty Groove Employee (Thanks man!) drop the needle on a few cuts & I was blown away by the few seconds that I heard. Was that a funked up cover of "Thank You" by Sly Stone? Do I hear other rare, delicious Minneapolis grooves? Please please, say no more, I'm sold.



Young-Holt Unlimited Plays Super Fly (1973, Paula Records)
This was one of the two finds that really blew my socks off (as if the ones above weren't enough)! I listened to this album for the first time last fall, when I was looking for a different take of "Pusher Man" for a playlist I was making at the time. I had known that Young-Holt Unlimited had done covers of Mayfield, but I was not prepared for the grooves that were contained within this album. Side A kicks off with "Freddie's Dead," then follows through with "Give Me Your Love," "Pusher Man," "Superfly," and concludes with the Young-Holt original "Hey Pancho," which I think, is the highlight of the album. Side B contains some other covers, diverging from the Super Fly theme, but with such a funked-out line up, side A is hard to beat.

The Counts - What's Up Front That Counts (1971, Westbound Records)
My best find by far was this funk album from 1971. I had known about the Counts for a long time, from their boiling near-8 minute work out of "What's Up Front That Counts," to the heart-wrenching soul that is "Why Not Start All Over Again" (this one always gives me goosebumps), to the organ-driven gritty funk of "Pack of Lies" (sampled by Snoop & Dre for "What's My Name?") I knew this album was well worth keeping an eye out for. So you can imagine the excitement when I was flipping through the new arrival bins and stumbled across this album. I actually ran to the back of the store, arms flailing and all to show Eveline this record. I got a chance to listen to it upon returning and it did not disappoint. AT. ALL. All killer, no filler. A straight funk masterpiece from start to finish and well worth the money, if I do say so myself! This one will be at the front of my crates for a long, long time, that's for sure.

What a dig this was! We even had some time to visit the now somewhat famous (???) shit fountain about 10 minutes from the record store.

Thanks for an amazing time Dusty Groove, you made my trip to the windy-city a whole lot funkier! I will be sure to visit again when I'm back in town!

Thanks so much for reading! Keep coming back for more posts & music... Help me spread the word by sharing my blog with a friend or following me on Facebook. Till next time... ~ DJ Blue Funk

We Got To Have Peace

I just uploaded a new mix called "We Got To Have Peace" and you can listen to it here or by clicking on the photo above. I put a lot of thought and care into this one, so I felt like explaining some of my thoughts about it below. Feel free to read or just move on to the tunes, either way, I think what I am trying to convey should be pretty straightforward and clear.

I must admit, I've stopped following politics closely. The sheer amount of news is overwhelming and it seems like if one unbelievable event occurs, the next day something even more unbelievable happens. With the 2016 elections, I think many people believe a new low has been reached, but as I dig back into my records from the 70s and think back to history, I know that things have always been pretty bad for those without money, power, or social status. I suppose people felt like some sort of progress was made, but I think we are quick to forget that this is a country where the civil rights act was passed just over 50 years ago, and women's voting rights have existed just shy of 100 years.


Still, the division, rage, and political situation of the world today (come on now, the world is so much larger than the United States!) is frustrating. Countries keep pouring money into armies to fight wars; we ignore the crisis that our planet is facing, putting profits and convenience above the very planet that we live in; people are still dying from starvation; the rich get richer, and the poor get poorer. We try to pat ourselves on the backs by giving Western countries titles such as "first world countries," "advanced," "civilized," but what good is being all that, if it still leaves people starving and on the streets? How civilized are we, if we cannot look another person in the eye and recognize them as a fellow human being? Not much, I believe.

So what does any of this have to do with a blog dedicated to records & music? A lot, actually. Much of the music that I like and listen to has been birthed from sociopolitical struggles, from the pleas of Marvin Gaye, to the raucous shouts of Fela Kuti, to the poetry of Gil Scott-Heron, to the intergalactic vibes of P-Funk, to the inception of Hip-Hop, music has been central to the history of social commentary. Especially with the rise of the MC, tracing its roots to toasting in Jamaica, street poetry in Harlem, way back to the griots and prophets of West Africa, politics and music have been forged together and have become inseparable.



Now, these conditions and messages are not always in the forefront. Sometimes the healing power of music can do more for a person than one would imagine. You can't protest 24/7, you can't watch the news 24/7, if we don't take a moment to enjoy what we have in life, then we will end up drained and spent. As Audre Lorde said, self-care can be a political act. The official motto of the Zulu nation is "peace, unity, love, and having fun" which I think captures what music can do in a succinct manner.


While there is much background to be mined and I could go on, let me get back to the music and how this all connects. I've been wanting to do a mix with a theme of peace & unity for a long time now, primarily inspired by "Let's make peace & stop the war" by Funk Inc, "We know we have to live together" by Eugene Blacknell, & "Why can't we live together" by Timmy Thomas. So with my latest upload I decided to put the message in the forefront. It's great to enjoy the great music that has come out of hardships, but it's also important to recognize where it is coming from and take some of those issues to heart. I think this is part of what it means to be a responsible listener of music in this day and age (in addition to actually buying & supporting artists, especially independent ones).


I've culled 33 songs from my vinyl & digital collection featuring both new & old music from the likes of Gil Scott-Heron, Sharon Jones, Charles Bradley, Lee Fields, Stevie Wonder, Kool & The Gang, Cameo, Roy Ayers, The US, Bohannon, Darondo, Sir Joe Quarterman, Zara McFarlane, the aforementioned songs, and many many more... But I felt that no song was worthier to name this mix after than the uplifting, vibrant soul classic "We Got To Have Peace" by the one and only Curtis Mayfield. This is really the message that I want to convey: until we stop killing each other & learn to live together, what good is progress? Why do we keep highlighting our differences and respond with fear? We KNOW we have to live together, so why can't we live together?

We got to have peace.

All these songs that were recorded over 40 years ago still ring so true today. I hope that the songs that were recorded today won't ring true 40 years from now, but I think they probably will. Progress is slow, change is hard to come by, but some strides ARE being made. Large scale thinking can sometimes be really daunting though, so I think it's apt to ask ourselves the question that Orgone asks in the last tune of the mix: "When all is said and done, are we still loving each other?"



And I will sign off with this quote from Donny Hathaway:

"Take it from me, someday, we'll all be free."

Peace, unity, love & having fun,
Chris aka DJ Blue Funk

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Vinyl Set at Barely Brothers

Last Friday I had the wonderful opportunity to play a 2.5 hour vinyl set at Barely Brothers Records located in Saint Paul, MN. I went in the day before to dig through their used vinyl & figure out what tunes I wanted to play. In the process I found many old favorites & new tunes that I wanted to share.

I started things off with some smoother jazz funk from the likes of Victor Feldman, Ramsey Lewis, Art Farmer & Brian Auger and then moved things up with some jazzy hip hop from Big L, CSC Funk Band and the like.

From there I picked up the tempo and started playing more funk and soul, peppering in samples and some hip-hop from Young MC, Ugly Duckling, and Roots Manuva.



Then I took a short detour into electornica & jazz with a Mr. Scruff remix of Herbie Hancock and a Saint Germaine classic "So Flute," which was particularly well received.


After this I changed up the pace again with a pair of spoken word pieces "When the Revolution Comes" by the Last Poets into "The Revolution Will Not Be Televised." It was a great honor being able to play a tune by my hero & inspiration Gil Scott-Heron and the song that inspired it back to back for a live audience.

The latter half of the set I played a lot of rare grooves, afro-sounds, and disco, from the likes of Haze, Julius Brockington, Wood, Brass & Steel, Joe Thomas, Willie Bobo, Lafayette Afro Rock Band, Peter King, and Orgone. I was particularly thrilled at the chance to play a cut from Orgone from a promo copy of their upcoming album "Undercover Mixtape Vol. 1" (Pre-Order it here). I had been losing my mind to their cover of the Gwen McCrae classic "All This Love I'm Giving," so it was a particular thrill & joy to play this live.

Losing my mind to Orgone's furious synth funk

All and all it was a fabulous evening, and to top it all off I got a gift card to the store. I decided to grab a few of the more memorable records from my set.

Haze - Self Titled

Glorious, raw, uncut funk from the hometown of the Purple One. Many years before Prince's arrival on the scene, there was a brewing funk & soul scene in Minneapolis & Saint Paul and Haze is a fine example of the musicianship & energy of the scene. Notable also is that Sonny Knight (RIP) joined the group for their second album.

Packed tight with solid grooves, I chose to play A3 "Waiting For The Moment" which has a bugged-out, killer clavinet solo that will knock your socks off. I'm looking forward to digging further into the sounds on this album in the near future!

Deep Street Soul - Come Alive!

This is UK soul/funk group Deep Street Soul's latest 2016 release. I haven't actually gotten a chance to listen to this yet, but I did get to play a song from their first album when I DJ'd.

I really dig Freestyle Records and their first record, and I try to stay caught up on the modern soul scene, so this seemed like an obvious purchase for me at $7.19! I look forward to hearing more of their grooves soon.



Julius Brockington - Sophisticated Funk
This one has been on my radar for quite sometime. I've been familiar with Julius Brockington by way of "This Feeling (Freedom)" which was sampled by Jurassic 5 for "Freedom." While I wasn't as familiar with the material on this album, I've had "Do Your Thing" in my YouTube playlist for almost a year now. It's a chilling, grooving, funked-out cover of an Isaac Hayes piece that appears on the Shaft soundtrack.

Well what I was not aware of was that beyond the funky intro riffs, there was much more hidden within this 8 minute opus. I finished my set with this cut and just let the grooves cook as I started packing up my gear. About 5 minutes in is a drum solo, where the drummer just gives you one breakbeat after another. It really goes to show how important it is to take in the whole song and how a song you thought you knew can still blow your mind. I'm glad I got a chance to play the full 8 minutes and score it as a souvenir from this great experience.

If you'd like to dig a little deeper or want to see what else I'm up to, give me a follow at the links below. Thanks for reading & keep on grooving. Until next time, DJ Blue Funk.

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Record Digging 1/6 - Mill City Sound

It's been quite some time since I last posted, but I am hoping to start posting more regularly. I will be chronicling my digging trips and sharing some of my discoveries, with links to the music, if possible.

For my first digging trip this year, I went to the always wonderful & well-stocked, Mill City Sound in Hopkins, MN. Milly City is a great record store that has been expanding shelf space & inventory constantly, buying collections from across the country and putting some truly great records out for sale. One of the main reasons I love Mill City so much is their incredible basement section of 45s. There are boxes on boxes of 7 inches that I still have yet to be able to get through their entire stock, but I always find some great 45s and a lot of them are in terrific shape. Last year on record store day I cleaned up on James Brown and Kool & The Gang 45s, all in excellent condition for 3-5 dollars a piece.

Here are my finds from my trip on January 6, 2018:

Chaka Khan - I'm Every Woman b/w A Woman In A Man's World (7", picture sleeve)

No introduction is really needed for this absolute soul classic; remixed by the likes of Frankie Knuckles and influential on the early house scene is soul diva Chaka Khan's hit single "I'm Every Woman." I always love it when I find a 45 in great shape with the picture sleeve, so this was a no brainer for me at $2.99. What I was not familiar with was the cut on side B, "A Woman In A Man's World," which is also a fantastic groove with incredible, uplifting vocals. Chaka will continue to inspire & move, making this a great addition to my record bag!

 "A Woman In A Man's World"

James Brown - Sex Machine b/w The Popcorn (7")

Another tune that needs no introduction is the classic "Sex Machine" by James Brown. Quite scandalous at the time of its release, but admired for its raw groove, sheer energy & unforgettable chant of "Get up, get on up," this was another song that I wanted to add to my arsenal. The release date on this particular 45 is unknown, but my best guess is that it is a reissue of some sort that came out in the 70s. The flip is the instrumental work-out, "The Popcorn," a classic JB-groove, if you'd ask me!

Ever since I got a copy of the 1975 version of sex machine and was incredibly disappointed with the result, I've wanted the proper version, so this was a great find for me, although I hope to track down the 45 with both parts 1 & 2 in the future.


Latimore - Let Me Live The Life I Love b/w It Ain't Where You Been (7")

I have been familiar with Latimore for a while now, through the incredible "Out to Get'cha." I figured with such a broad catalog, it would be worth my time to dig in a bit more, so I picked up a few 45s and gave them a listen... I can say that I was mighty pleased that I did!

This 45 is fantastic, as both tracks drip with soul. The keys are COLD and Latimore's voice rides the groove with ease. While I enjoyed both cuts, side B was the real winner for me, building and building with some funky clavinet work to boot. A lower tempo song that is somehow both raw & smooth. Take a listen below:

"It Ain't Where You Been"

Chi-Lites - Are You My Woman (Tell Me So) b/w Troubles A' Comin'

I have been after this song for a while, as it has pretty much everything a funk/soul DJ/collector could want. Drum break? check. Blazing horns sampled by a big-name artist? check. Vocal breakdown and harmonizing so funky it will melt your face off? checkity-check-check-check! Not a rare tune by any means, but an absolute belter, sampled by Beyonce in the soulful hip-hop collab with Jay-Z "Crazy in Love." In addition to the great dance factor, this was a joint I wanted just so I could school some people on sampling and blow a few minds. I'm always looking for ways to get people into soul/funk music from the 70s and many times samples can be a good gateway, it sure was for me! 

On Side B, the Chi-Lites break it down on a more conscious tip with "Troubles A' Comin'" which is another great, slower cut that speaks straight to the soul. With a great piano line & a clear gospel influence, it's a great track to mellow out to. 

"Are You My Woman (Tell Me So)"

Delegation - Oh Honey b/w Let Me Take You To The Sun (7")

Now, I am not a big sucker for slow, love songs, but after hearing this song sampled by Brothers Like Outlaw and on BADBADNOTGOOD's incredible Late Night Tales mixtape, I was more than sold. This song has just enough groove and mellow, and avoids the schmaltziness of many ballads. This cut is quite soothing and relaxing, which you need sometimes, whether it be when you're tired from a night of grooving or if you're going through a rough patch in life. The intro key-line will grab you and soon you'll be head-bobbing and singing along. Side B was a more uptempo cut, but it sounded a bit overproduced, so for me, the winner here was most definitely "Oh Honey." 

"Oh Honey"

Pieces Of A Dream - Please Don't Do This To Me b/w Mt. Airy Groove (7")

Here is another example of why it's a good idea to flip over a record and listen to side B. Pieces of a Dream, a band discovered and produced by Grover Washington Jr., recorded a string of albums through the 80s to today. I must say I am not super familiar with the group's discography, but I have been familiar with Mt. Airy Groove for some time.  Mt. Airy Groove has been sampled by Grandmaster Flash, DJ Shadow, Cut Chemist, Leaders of the New School, Force M.D.'s, Geto Boys, and was even remixed as a "rap version" by Grover Washington and Pieces of a Dream themselves. The track combines a breakbeat with jazzier instrumentation, and a scratch-like sound that pulses throughout the track. Another classic breakbeat joint for my record bag! 

"Mt. Airy Groove"

Herbie Hancock - Chameleon b/w Autodrive (7")

I am hard pressed to pick a "favorite" artist, but one that influenced me greatly and has a special place in my heart is Herbie Hancock. His albums "Thrust" & "Head Hunters" opened my eyes to a whole new world of jazz, funk, and dance music, so it was with much excitement that I grabbed this 7". Although I already have the album on vinyl and fitting a 15 minute opus onto a 7" is not really going to do the original justice, my interest was piqued, I wanted to see what part of the song they put on the 45, plus this would give me a short version that I could play in sets more easily than the full album cut. The flip "Autodrive" is another favorite of mine. It's a less obvious cut from the "Future Shock" album which contained the massive b-boy hit "Rockit" and an electronic re-working of the title track originally by Curtis Mayfield. Autodrive doesn't have any scratching on it, but it does have an acoustic piano solo over a electro-groove, making it both an interesting & danceable track. It sounded like they lopped off the ending, but most of the solo remains intact, thank goodness! 

Roy Ayers - Hey Uh-What You Say Come On b/w You and Me My Love (7")

Continuing on the jazz-funk tip, I found this 45 by the one and only Roy Ayers. I am always on the hunt for tracks by Roy Ayers and am happy to finally get a 45 by him that is in decent shape! This one is great because it has 2 great tracks from the classic LP - Everybody Loves The Sunshine. Side B is the same as the album version and a groovy, jazz funk track, with sparing vocals, smooth keys and a tight bottom end. Side A is interesting because it sounds as if the 45 version is a slightly different edit from the album version. There is no synths over the intro drum break, which comes in heavy after the intro chant of "Hey, uh! what you say, come on!" A Perfect track to get the energy going, making it another a great addition to my bag.

Listen to the album version of "Hey Uh-What You Say Come On"

Nite-Liters - Cherish Every Precious Moment b/w I've Got Dreams to Remember (7") 

The Nite-Liters were an instrumental funk outfit that released a string of classic albums in the early 70s. They later joined with vocalists to form New Birth, which also released some great material in the mid 70s. I found another single by them 2 years ago containing the funk workout that is "Afro-Strut," so I was pleased to add this one to my collection. Both sides are great, but side B is the real winner for me, as the group gets down & gritty with a song about heartbreak and nightmares, reworking an Oddis Redding joint to maximum funkiness. The drums, blues-inspired guitar and bass-line interlock seamlessly, and when the vocals fade out there is a killer guitar solo that comes in along with handclaps. A song about bad dreams never felt this good. 

"I've Got Dreams To Remember"

Tower of Power - Down To The Nightclub b/w What Happened To The World That Day (7")

Here's another classic funk offering from the Oakland funk band Tower of Power. I had the pleasure of seeing them up-close and live in 2016 at the Dakota Jazz Club in Minnesota and my love for them has kept increasing since. This band has it all, one of the tightest horn sections, a jaw-dropping rhythm section, and great vocalists. 

This single is from their 1972 album "Bump City," and offers a classic Tower of Power pairing of a uptempo funk workout & a mellower groove on the flip. While I mainly got this single for "Down to the Nightclub," which packs a solid-funk-punch to the gut in just over two and half minutes, side B is also incredible. As far as love songs go, this is just the way I like 'em: smooth and mellow, but with a groove. This song is sure to put you in a breezy mood & put a smile on your face, and then towards the end the horns come in, adding the perfect finishing touch on an already sublime tune.  Truly a master of their craft, the band celebrated their 50th anniversary last year. Thanks for keeping the funk alive!

"What Happened To The World That Day"

Dennis Coffey - Honky Tonk b/w El Tigre (7") & Getting It On b/w Ride, Sally, Ride (7")

To finish off this treasure trove of 45s, I picked up 2 45s by the incredible Dennis Coffey. I became familiar with Dennis Coffey many years ago through the b-boy & funk classic "Scorpio" which has been sampled and covered to death (my current fave being the Bacao Steel & Rhythm Band's version). Coffey added his signature wah-wah guitar to numerous productions in the late 60s & early 70s, with his most famous probably being the Temptations' "Cloud Nine."

I have yet to find Scorpio on 45, but with such a prolific, funky output, it was a no-brainer to pick up both of these 45s, heavy on the funk with nasty guitar riffs and fat, fat drums. "Honky Tonk" is a bit more cheesy as he started to incorporate more disco elements into his production, but El Tigre carries on the funk torch beautifully. Getting It On b/w Ride, Sally, Ride, is clearly the winner here however, with blazing guitar funk dripping on both sides, "Ride, Sally..." is reminiscent of "Scorpio," while "Getting It On" fuses funk with a heavy rock guitar, bringing Coffey's playing front and center. 

Listen to "Ride, Sally, Ride"

Aaaand, that's a wrap! I hope you enjoyed the tunes & stay tuned for my next blog post... In the meantime, I always share links to tunes I'm digging on my DJ page on facebook and upload some of my discoveries as mixes to mixcloud, so if you're intrigued & want to dig deeper, find me/follow me on the links below... Thanks for reading & keep on grooving ~ DJ Blue Funk.

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