So Keb did a set a Funky Sole the other night. I was pretty blown away. Dropped alot of (surprisingly good) modern soul. dropped some other killer tracks, all of which i of course do not own.
so that means i probably should have made my way through traffic and atleast attempted to get in even though it was 11:30.
My first Keb Darge experience and dudes is right, he set the party off real hyphy-like. Just on the strength of his records he rocked it, wasn't even mixing really. I got close enough to peek at his treasured leather record case and more than half of them were white label/test press shits (one was labeled "From Josh") Made me feel like I did the right thing leaving the Brasilintime party early in the night. B+ was settin' it off over there as well, before J-Rocc and Madlib got on. Here are few snapshots of the night at Funky Sole. That bugged expression Egon got on his was goin' on all night.
ps it's true, dude has breakface like that face people get when they win the Showcase Showdown...
cheers...
me lika the records...
and i still am jonesing for that goddamned Zap Pow LP that inspired this ...
and, no no, i sell the modern soul records to insure that my sets are completely dated, uncool, played out, and tired... also, then i can use the money to buy old country LPs to play while i drink alone... 1 modern soul 45= approx. 50 old country LP's...
My first Keb Darge experience and dudes is right, he set the party off real hyphy-like. Just on the strength of his records he rocked it, wasn't even mixing really. I got close enough to peek at his treasured leather record case and more than half of them were white label/test press shits (one was labeled "From Josh") Made me feel like I did the right thing leaving the Brasilintime party early in the night. B+ was settin' it off over there as well, before J-Rocc and Madlib got on. Here are few snapshots of the night at Funky Sole. That bugged expression Egon got on his was goin' on all night.
For an L.A. party that jump-off doesn't look pretentious at all, looks like a good jam that would take place here in the bay. Kinda relieved.
yeah, dudes been doing this for a long time. keb was into 'rare soul' way before he was jocking the funk 45 idea. 'rare soul' including modern soul btw. keb darge didn't start playing funk 45's until he let his sidekick (who was supposed to teach keb how to mix house) ransack his "junk" box-aka the funk box. this was in 1996. the house dj that started the deepfunk scene by accident was/is Raw Deal, who actually does nice nu-jazz type productions.
Keb was DJing the Northern scene, sometimes alongside Guy Henigan, way before he got into funk. It was 1991 when I met him DJing boogaloo hammond, rare sixties grooves and suchlike at clubs like 'Leave my wife alone' and 'Humpty Dump'. Jim 'Raw Deal' was Kebs next door neighbour and used to help us flyer for the first Deep Funk shows at Ormonds - first one was in January 1994, where the lienup was Snowboy, Keb, Jasper the Vinyl Junkie, Steve Johns, Malachi, Marco from the Young Disciples, Smithers and me.
It was a two floor venue, where we played the harder 60's edge downstairs, and the modern soulier edge upstairs. Downstairs, I remember played on the opening night Hard Rock Jackson 'Soul walking', Leonard King 'The Barracuda', Cane & Able 'Toe hold', Third Guitar 'Baby don't cry', King Midas & the Mufflers 'Tramp', Golden Toadstools 'Silly Savage', Slim & the Soulful Saints 'Fishead' etc. Upstairs it was Rawl Soul Express 'The way we live', Ramsay & Co 'Love call', Lemuria 'Hunk of heaven' etc.
At the time, Raw Deal was using some of Kebs tunes to sample and loop up for his early productions - one in particular was Ronnie Keaton 'Ain't going down no more' on Konduko.
So the modern edge has always been in a Keb set, and Raw Deals involvement with the creation of Deep Funk was pretty much there from the start of the DF club night in 1994.
(modern soul is) like the only unappriciated mainstream black american music of the last 35 years...
its not so much "unappreciated," more like: twenty years have passed, so it's about time for it to have its day (again). just like funk, sixties soul, and 50's R&B before it.
not quite... it's not just time. people have been collectiong early 90's hip hop for a while now (maybe since the mid to late 90's) and the whole electro craze hit, what, 3-4 years ago, disco maybe a few years before that... basically, from soul to mid 90's hip hop, black music had been completely collected, sweated, and co-opted, with the exception of modern soul/boogie.. now it seems like it's changing...
re: "white american hip hop kids", i'd have to disagree. it's young americans in general (people who grew up with modern soul like it, but i doubt they're spending 150 bucks for a 45). european and japanese collectors kept on buying new soul records in the 80's and 90's when americans stopped. Modern Soul is one of those "Italo Disco" type terms that didn't mean a thing when the records came out and was tagged on by collectors later. so, of course americans slept on those records, the entire idea of that genre is not an american concept. i think if you played these records to most "white american hip hop kids"and said "this is modern soul" they'd go "oh, THAT's what that is!" and would already own comparably sounding records by Cameo, Shalimar, Lakeside, Raydio, George Benson, Gap Band, Dazz Band, Ohio Players, etc etc...
This isn't really true, "modern soul" has a longer history than you'd think it is not just an ebay catchphrase.
Also, "modern soul" is not by the Guzzo definition...
And most hip-hop kids I know do not own Shalimar and Cameo, they own Rare Earth and Fleetwood Mac "Heroes Are Hard To Find" and Southside Movement and shit.
90s hip-hop isn't collectible any more. Come to my shop and get all that shit for $10-15. When Americans wake back up and want simple shit like Brand Nubians and BDP it will all be in Japan, Germany, UK, etc. etc.
Modern Soul is one of those "Italo Disco" type terms that didn't mean a thing when the records came out and was tagged on by collectors later.
that's not true at all.
Italo was a term coined at the same time as the productions came out. It was interused with Import and Euro disco but it still existed.
Malavasi, Simonetti, Kano et al were huge when they came out and the jocks knew those were imports / italo / euro and they were refered to as such.
the thing with this modern thing is similar too... Boogie and Electro Funk (as it was known in the UK) were huge in the clubs concurrent with their releases.
the Guzzo Definition??? seems to ignore this completely by instead focusing on the non dancefloor tracks, LP cuts and 45's. namely the shit NO DJ in his right mind would spin back in the day.
now that you have this whole "i can't dj for shit but my records are worth thousands of dollars so i'll just play them one after but i have no idea who David Mancuso is" rare groove / funk 45 school then this modder soul just slides right on in... the shit is rare, its on 45, you don't beat match it...
in the UK / Japan this shit has obviously been around for longer due to the whole northern / rare groove scene.
Keb was DJing the Northern scene, sometimes alongside Guy Henigan, way before he got into funk. It was 1991 when I met him DJing boogaloo hammond, rare sixties grooves and suchlike at clubs like 'Leave my wife alone' and 'Humpty Dump'. Jim 'Raw Deal' was Kebs next door neighbour and used to help us flyer for the first Deep Funk shows at Ormonds - first one was in January 1994, where the lienup was Snowboy, Keb, Jasper the Vinyl Junkie, Steve Johns, Malachi, Marco from the Young Disciples, Smithers and me.
It was a two floor venue, where we played the harder 60's edge downstairs, and the modern soulier edge upstairs. Downstairs, I remember played on the opening night Hard Rock Jackson 'Soul walking', Leonard King 'The Barracuda', Cane & Able 'Toe hold', Third Guitar 'Baby don't cry', King Midas & the Mufflers 'Tramp', Golden Toadstools 'Silly Savage', Slim & the Soulful Saints 'Fishead' etc. Upstairs it was Rawl Soul Express 'The way we live', Ramsay & Co 'Love call', Lemuria 'Hunk of heaven' etc.
At the time, Raw Deal was using some of Kebs tunes to sample and loop up for his early productions - one in particular was Ronnie Keaton 'Ain't going down no more' on Konduko.
So the modern edge has always been in a Keb set, and Raw Deals involvement with the creation of Deep Funk was pretty much there from the start of the DF club night in 1994.
so that was happening in 94? awesome. it always freaks me out how new funk djing phenomena is. i love hearing about the roots of these scenes....
just heard about malachi from the jazzman radio show, who are jasper-steve johns-marco- and smithers?? are they still playing, collecting??
This isn't really true, "modern soul" has a longer history than you'd think it is not just an ebay catchphrase.
yeah, in europe... find me an american reference to modern soul from the 80's that isn't from a shameless anglophile. and re: italo, i stand by what i said, italians making the music weren't calling it italo (just like Can and Amon Duul weren't sitting around going "man, this kraut rock music is awesome!"... i should have used that as my example instead...), a lot of it came out of france or montreal, it's a made up term that may have been used by DJ's back in the day, but has gotten WAY WAY more credence recently [/b]
And most hip-hop kids I know do not own Shalimar and Cameo, they own Rare Earth and Fleetwood Mac "Heroes Are Hard To Find" and Southside Movement and shit.
for real?, i dunno... i know plenty of scratch DJ's who only own like 3 crates of records and they'll have some "oops upside your head" in there... [/b]
90s hip-hop isn't collectible any more. Come to my shop and get all that shit for $10-15. When Americans wake back up and want simple shit like Brand Nubians and BDP it will all be in Japan, Germany, UK, etc. etc.
i know it's gone down in price (KMD singles don't cost 100 bucks no more), but it's still insane shit like the Gravediggaz LP goes for the amount it does... and every time i go into Beat Street, there's a new reissue from the early 90's in there(In God We Trust LP, finally!), so there's still interest... yo, if you wanna sell me the first Nine LP for 10 bucks, I'll be there in a hot second... [/b]
and re: italo, i stand by what i said, italians making the music weren't calling it italo (just like Can and Amon Duul weren't sitting around going "man, this kraut rock music is awesome!"... i should have used that as my example instead...), a lot of it came out of france or montreal, it's a made up term that may have been used by DJ's back in the day, but has gotten WAY WAY more credence recently
yeah its not like faust wrote a song called "Kraut Rock" in 1970 poking fun of the genre name or anything like that eh???
hmmmmmm
but yeah i hear you on the italo thing.. alot of non-italo gets lumped in there.. esp quebec shit.
i hate to bring this up but i think people prefer to call the stuff Italo because Euro Disco / Dance has too many gay connotations... which in alot of ways is similar to calling Boogie "Modern Soul", distancing it from the gay club roots.
just heard about malachi from the jazzman radio show, who are jasper-steve johns-marco- and smithers?? are they still playing, collecting??
Malachi has been a stalwart on the 'scene' for ages now. He compiled some of the Funky Jams comps and is big on licensing tracks. He assists Gerald and other labels with his knowledge these days. Jasper was predominantly a p-funk and James Brown DJ. At the time, Keb wasn't playing any James at all, so we drafted in Jasper to accomodate. Remember that the true meaning of Deep Funk is to cover all genres of funk based music - not just rare one off's, and any one particular style. It was to cater for all sub genres.
Marco was one half of the production crew the Young Disciples signed to Talkin' Loud. Steve Johns co-run various clubs with Russ Jones who now runs Future World Funk (look out for their comps). He now has involvement with Soul radio station Solar. And Smithers was the girlfriend of a London promoter who played mainly boogaloo, mod and northern style 45's.
The only person who is really still playing to my knowledge out of that lot is Malachi, and Steve does a radio slot every now and again.
This isn't really true, "modern soul" has a longer history than you'd think it is not just an ebay catchphrase.
yeah, in europe... find me an american reference to modern soul from the 80's that isn't from a shameless anglophile. and re: italo, i stand by what i said, italians making the music weren't calling it italo (just like Can and Amon Duul weren't sitting around going "man, this kraut rock music is awesome!"... i should have used that as my example instead...), a lot of it came out of france or montreal, it's a made up term that may have been used by DJ's back in the day, but has gotten WAY WAY more credence recently [/b]
And most hip-hop kids I know do not own Shalimar and Cameo, they own Rare Earth and Fleetwood Mac "Heroes Are Hard To Find" and Southside Movement and shit.
for real?, i dunno... i know plenty of scratch DJ's who only own like 3 crates of records and they'll have some "oops upside your head" in there... [/b]
90s hip-hop isn't collectible any more. Come to my shop and get all that shit for $10-15. When Americans wake back up and want simple shit like Brand Nubians and BDP it will all be in Japan, Germany, UK, etc. etc.
i know it's gone down in price (KMD singles don't cost 100 bucks no more), but it's still insane shit like the Gravediggaz LP goes for the amount it does... and every time i go into Beat Street, there's a new reissue from the early 90's in there(In God We Trust LP, finally!), so there's still interest... yo, if you wanna sell me the first Nine LP for 10 bucks, I'll be there in a hot second... [/b]
Americans sleep on everything.
"it's true, we're so lame"[/b]
It's definitly not new here. That whole modern soul, boogie, late funk stuff is big in France since the 80's and is connected to the hip hop scene from here since the beginning (the first time I saw breakdancers in party was in the Respect house/disco party at the Queen club). The whole package (including disco and old school hip hop) is commonly described here at "80s funk" and always bring packed crowd in the venues. People here never really dug the whole deepfunk/cratediggin' phenomenom. When you say "funk" in Paris, people think Cameo and Shalamar, not James Brown, and when Keb Darge spins here it's more the mod scene who fill the club, and not the B-boys. In opposite "80s funk" as always been popular with party people, radio DJs and french hip hop producers.
Comments
so that means i probably should have made my way through traffic and atleast attempted to get in even though it was 11:30.
that's some archival work there, man!
ps it's true, dude has breakface like that face people get when they win the Showcase Showdown...
cheers...
me lika the records...
and i still am jonesing for that goddamned Zap Pow LP that inspired this ...
and, no no, i sell the modern soul records to insure that my sets are completely dated, uncool, played out, and tired... also, then i can use the money to buy old country LPs to play while i drink alone... 1 modern soul 45= approx. 50 old country LP's...
For an L.A. party that jump-off doesn't look pretentious at all, looks like a good jam that would take place here in the bay. Kinda relieved.
Keb was DJing the Northern scene, sometimes alongside Guy Henigan, way before he got into funk. It was 1991 when I met him DJing boogaloo hammond, rare sixties grooves and suchlike at clubs like 'Leave my wife alone' and 'Humpty Dump'. Jim 'Raw Deal' was Kebs next door neighbour and used to help us flyer for the first Deep Funk shows at Ormonds - first one was in January 1994, where the lienup was Snowboy, Keb, Jasper the Vinyl Junkie, Steve Johns, Malachi, Marco from the Young Disciples, Smithers and me.
It was a two floor venue, where we played the harder 60's edge downstairs, and the modern soulier edge upstairs. Downstairs, I remember played on the opening night Hard Rock Jackson 'Soul walking', Leonard King 'The Barracuda', Cane & Able 'Toe hold', Third Guitar 'Baby don't cry', King Midas & the Mufflers 'Tramp', Golden Toadstools 'Silly Savage', Slim & the Soulful Saints 'Fishead' etc. Upstairs it was Rawl Soul Express 'The way we live', Ramsay & Co 'Love call', Lemuria 'Hunk of heaven' etc.
At the time, Raw Deal was using some of Kebs tunes to sample and loop up for his early productions - one in particular was Ronnie Keaton 'Ain't going down no more' on Konduko.
So the modern edge has always been in a Keb set, and Raw Deals involvement with the creation of Deep Funk was pretty much there from the start of the DF club night in 1994.
This isn't really true, "modern soul" has a longer history than you'd think it is not just an ebay catchphrase.
Also, "modern soul" is not by the Guzzo definition...
And most hip-hop kids I know do not own Shalimar and Cameo, they own Rare Earth and Fleetwood Mac "Heroes Are Hard To Find" and Southside Movement and shit.
90s hip-hop isn't collectible any more. Come to my shop and get all that shit for $10-15. When Americans wake back up and want simple shit like Brand Nubians and BDP it will all be in Japan, Germany, UK, etc. etc.
Americans sleep on everything.
that's not true at all.
Italo was a term coined at the same time as the productions came out. It was interused with Import and Euro disco but it still existed.
Malavasi, Simonetti, Kano et al were huge when they came out and the jocks knew those were imports / italo / euro and they were refered to as such.
the thing with this modern thing is similar too... Boogie and Electro Funk (as it was known in the UK) were huge in the clubs concurrent with their releases.
the Guzzo Definition??? seems to ignore this completely by instead focusing on the non dancefloor tracks, LP cuts and 45's. namely the shit NO DJ in his right mind would spin back in the day.
now that you have this whole "i can't dj for shit but my records are worth thousands of dollars so i'll just play them one after but i have no idea who David Mancuso is" rare groove / funk 45 school then this modder soul just slides right on in... the shit is rare, its on 45, you don't beat match it...
in the UK / Japan this shit has obviously been around for longer due to the whole northern / rare groove scene.
nice....
Me neither. Send all "chicken choke funk" to NJ.
PLAESE...
so that was happening in 94? awesome. it always freaks me out how new funk djing phenomena is. i love hearing about the roots of these scenes....
just heard about malachi from the jazzman radio show, who are jasper-steve johns-marco- and smithers?? are they still playing, collecting??
This isn't really true, "modern soul" has a longer history than you'd think it is not just an ebay catchphrase.
yeah, in europe... find me an american reference to modern soul from the 80's that isn't from a shameless anglophile. and re: italo, i stand by what i said, italians making the music weren't calling it italo (just like Can and Amon Duul weren't sitting around going "man, this kraut rock music is awesome!"... i should have used that as my example instead...), a lot of it came out of france or montreal, it's a made up term that may have been used by DJ's back in the day, but has gotten WAY WAY more credence recently [/b]
And most hip-hop kids I know do not own Shalimar and Cameo, they own Rare Earth and Fleetwood Mac "Heroes Are Hard To Find" and Southside Movement and shit.
for real?, i dunno... i know plenty of scratch DJ's who only own like 3 crates of records and they'll have some "oops upside your head" in there... [/b]
90s hip-hop isn't collectible any more. Come to my shop and get all that shit for $10-15. When Americans wake back up and want simple shit like Brand Nubians and BDP it will all be in Japan, Germany, UK, etc. etc.
i know it's gone down in price (KMD singles don't cost 100 bucks no more), but it's still insane shit like the Gravediggaz LP goes for the amount it does... and every time i go into Beat Street, there's a new reissue from the early 90's in there(In God We Trust LP, finally!), so there's still interest... yo, if you wanna sell me the first Nine LP for 10 bucks, I'll be there in a hot second... [/b]
Americans sleep on everything.
"it's true, we're so lame"[/b]
yeah its not like faust wrote a song called "Kraut Rock" in 1970 poking fun of the genre name or anything like that eh???
hmmmmmm
but yeah i hear you on the italo thing.. alot of non-italo gets lumped in there.. esp quebec shit.
i hate to bring this up but i think people prefer to call the stuff Italo because Euro Disco / Dance has too many gay connotations... which in alot of ways is similar to calling Boogie "Modern Soul", distancing it from the gay club roots.
Malachi has been a stalwart on the 'scene' for ages now. He compiled some of the Funky Jams comps and is big on licensing tracks. He assists Gerald and other labels with his knowledge these days. Jasper was predominantly a p-funk and James Brown DJ. At the time, Keb wasn't playing any James at all, so we drafted in Jasper to accomodate. Remember that the true meaning of Deep Funk is to cover all genres of funk based music - not just rare one off's, and any one particular style. It was to cater for all sub genres.
Marco was one half of the production crew the Young Disciples signed to Talkin' Loud. Steve Johns co-run various clubs with Russ Jones who now runs Future World Funk (look out for their comps). He now has involvement with Soul radio station Solar. And Smithers was the girlfriend of a London promoter who played mainly boogaloo, mod and northern style 45's.
The only person who is really still playing to my knowledge out of that lot is Malachi, and Steve does a radio slot every now and again.
It's definitly not new here. That whole modern soul, boogie, late funk stuff is big in France since the 80's and is connected to the hip hop scene from here since the beginning (the first time I saw breakdancers in party was in the Respect house/disco party at the Queen club). The whole package (including disco and old school hip hop) is commonly described here at "80s funk" and always bring packed crowd in the venues. People here never really dug the whole deepfunk/cratediggin' phenomenom. When you say "funk" in Paris, people think Cameo and Shalamar, not James Brown, and when Keb Darge spins here it's more the mod scene who fill the club, and not the B-boys. In opposite "80s funk" as always been popular with party people, radio DJs and french hip hop producers.