Crowned the King of Pop by his best friend Elizabeth Taylor, Michael Jackson has achieved and surpassed the accomplishments of those who inspired him, those who came before him. Inspired by  James Brown, Bill Bailey, Fred Astaire, and the Nicholas Brothers, Michael moulded their dance moves and made them his own. He combined his natural elements of song and dance to propel himself into superstardom. Along his way to the top he collected many awards documenting his prowess in entertainment, some of which can be found at the Michael Jackson Exhibition at the O2 Arena. Among the awards, include gold and platinum albums, the first platinum album awarded in 1969 when he was eleven.

The Exhibition chronicles the short life of the star. After experiencing a taste of Michael Jackson in concert on a large video screen,  the exhibition starts with the contract his father signed with the William Morris  Agency establishing his sons as the pop group The Jackson Five, which would later become The Jacksons. It continues with personal items from Michael’s life, including the Neverland Arch that led to the entrance of this former home in California. You can see cracked and chipped paint in his blue 1967 Rolls Royce Phantom that he took Elizabeth for rides in.

Props from his many cinematic music videos included the green rocket ship from “Leave me Alone,” the sleek black Gibson guitar used in the video “Scream” where he sang and danced along side his sister Janet, his Egyptian costume from his 1993 hit “Remember the Time” and the robot mask with protruding pieces from his film “Moonwalker.”

It’s widely known that Michael lived a life of extravagance. He lived like a king. His wardrobe, also featured at the exhibition,was often composed of  elaborate ensembles with arm bands in the colours of royalty,  accented with metals or insignias that hung from his chest like a decorated soldier. They were designed with the purpose of presenting Michael as a king. His collection often mimicked the uniforms of the royal guards of Her Majesty the Queen of England as well as the military uniforms of other countries. There are other times where his style was more futuristic, and can be described as experimental. Those were usually seen in costume at his many elaborate concerts.

Towards the end of the exhibition, props and clothing that were to be used at his final series of performances, This is It, were creatively placed in two sizeable rooms. In one room, the view of Michael’s massive and elaborate revision of the Thriller dance sequence brings back memories of his original music video. In the next area, a more modest room featured the costumes he would have changed into during his last performances, which included various versions of his trademark penny-loafers. Across from the costumes in a corner was a small thermos rotating inside of a glass case. The sign underneath stated that Michael’s children would pack his lunch inside of the thermos every day for him to take with him to rehearsals.

In the final room, a set of books with white pages were left for fans to leave their message for his family. Further along around a corner, a light shined on a solid square black pillar with a glass case on top. Inside the glass case was “the glove.” There were other versions of it that Michael wore, even in different colours to match his outfit, but this was the trademark white glove that he wore at the American Music Awards in 1984.

Adjacent to the black pillar was a quote in white printed against a black wall. The quote from Michael reflects his view on life which can be interpreted as an optimistic commentary on his own.

“If you enter this world knowing you are loved and you leave this world knowing the same, then everything that happens in between can be dealt with.” – Michael Jackson (1958 -2009)

Although some stumblebum was announcing the show, the flow of music on tonight’s edition of Temposphere was quite scintillating, ranging from the vintage R&B of Stevie Wonder (listen to that track Visions from Innervisions – just gorgeous) and James Brown to contemporary samba soul by Seu Jorge and Ed Motta to deep roots from Junior Reid and the Itals to the hipster jazz vocals of Mark Murphy and The Third Wave, and much, much more. The magic of internet streaming allows you to enjoy the show at your leisure during the next two weeks so by all means partake. The playlist will be posted shortly at the KFAI site and here as well, after the break.

I’ve lost the source of the vintage photo above but it’s from one of those saucy image sites like All Thing Amazing.

While shopping today, I was serenaded by the carnally funky sounds of James Brown not once, not twice, not three times a lady, but FIVE times my friends.

Don’t be jealous that he’s cooler than all of us combined, feel inspired that with the video above, you too can dance like James Brown.

“The Godfather of Soul”

Foarte tare faza…

I’m pretty excited about Sunday Spin at Benetti’s Coffee Experience this weekend, as my father-in-law, Jim Gutwein, has chosen all the music.  Katy’s parents are in town for Thanksgiving, and I asked Jim to share some records before they leave.  (Most of the records are culled from his personal collection, and Jim is proud to gloat that all are original pressings thereof.)  He has decided to play Christmas music Sunday evening, so grab a cup of coffee or hot chocolate and wind down from the hectic holiday weekend, looking forward to the Christmas season.

1. Nat King Cole Trio – “The Christmas Song” (original 45 from 1946, not the version made popular in the the early 1960s)
2. Bing Crosby – excerpt of a radio broadcast from A Christmas Sing with Bing (1956)
3. Joan Baez – side 1 of Noel (1966)
4. The Ramsey Lewis Trio – Sound of Christmas (1961)
5. Tony Bennett – Snowfall: The Tony Bennett Christmas Album (1968)
6. The Miracles – side 2 of The Season for Miracles (1970)
7. The Temptations – side 1 of The Temptations Christmas Card (1970)
8. Various Artists – side 2 of A Christmas Gift for You (1963)
9. Charles Brown – side 1 of Charles Brown Sings Christmas Songs (1960)
10. James Brown – side 2 of James Brown Sings Christmas Songs (1966)

We’ll augment your own research on these record with handout Sunday evening.  See you there from 6:00-9:00.

Time to get funky while you’re putting up those Christmas decorations….

Great album by The Godfather — one that takes the core James Brown sound of the “Sex Machine” generation, and serves it up with a tighter mid 70s twist! Fred Wesley is still very firmly at the helm of the band — and there’s a power here that’s equal to the later JBs work on the Breakin Bread album. The grooves are nicely free of the “fast funk” syndrome that crept into James’ work a few years later as his answer to disco and are super tight all the way through! The LP includes a 12 minute remake of “Sex Machine” that’s worth the price alone — plus the funk cuts “Dead On It”, that here has been remixed by U-Tern, in a funked ass James Brown edit from : some impeccable grooves Maybe less grittier than the older JB’s sound, but still pretty good, and a good funky track for DJ’s looking for a funk track to begin their sets.

James Brown : Dead on it [Sex machine : 1975 : U-tern disco edit]

Duet L.A. Style w 1991 roku stworzył pierwszy kawałek rave techno, który trafił na listę Billboardu. Potem już nie bardzo im szło i w 1995 się rozpadli.

L.A. Style – James Brown Is Dead (Rock Radio Mix)

Powstała też kontra w wykonaniu Holy Noise.

Potem dużo dużo ludzi remiksowało i samplowało, nie przejmując się specjalnie, że JB miał się dobrze. Żył sobie aż do 2006 roku.

L.A. Style – James Brown Is Dead (Kry-lon is Fucking Dead Remix)

]]> http://sophiekingo.wordpress.com/2009/11/25/welcome-velkommen-bienvenue/ Wed, 25 Nov 2009 23:13:59 +0000 sophiekingo http://sophiekingo.wordpress.com/2009/11/25/welcome-velkommen-bienvenue/

So, this is my first blog. But it’s late, I ache and it’s time for bed. Though I must say – listening to Play That Funky Music is inducing foot tapping rather than the Zzzzs. Hey hum. Will start with this good and proper tomorrow.

Pues estarán todas “fritas” con el anuncio de Miguel Silvestre para el nuevo perfume, HOMBRE de Victorio & Lucchino, pero lo que es a mi, excepto por la música, me parece un anuncio pésimo.

Este es el anuncio, más abajo tenéis el video de la canción, por lo menos que disfrutéis de algo… jejeje

Este es el temazo

“L’ORO DI SPELLO”: XLVIII Festa dell’Olivo e Sagra della Bruschetta. La manifestazione conclude il ciclo di 5 weekend di Frantoi Aperti, . Sabato 5 : ore 17 e ore 20, concerto dell’ensemble Micrologus, nella chiesa di S. Maria del Prato; apertura della mostra di sculture in legno d’ulivo di Augusto Caponera. Domenica 6: alle ore 10, trekking verso le aree olivate a dorso di mulo; ore 11-18, musicisti e stornellatori itineranti; ore 11.45, concerto di mezzogiorno con la Bandaliberatori; ore 15, sfilata dei carri allegorici “la Frasca“, lungo le vie di Spello; ore 16, cabaret e stornelli con i Cantores di Montefalco; ore 18, “Celebri arie d’opera” con il Teatro Lirico Sperimentale di Spoleto. Lunedì 7: ore 16, concerto pop con gli “Spirito Divino”; alle ore 21, spettacolo “A proposito di vino e bruschette” a cura di Fontemaggiore. Martedì 8: alle ore 11.45, in piazza della Repubblica, concerto di mezzogiorno con i POP ’90, 13 musicisti umbri per suonare il blues dell’età d’oro da James Brown ad Aretha Francklin. Tutti i giorni, dalle 10 alle 18, frantoi aperti nel territorio del Comune, bruschetterie aperte in centro, e, dalle ore 20, apertura taverne. Info: Comune di Spello, tel 0742.301009

Soulussion really enjoy playing the music of James Brown.

James Joseph Brown (May 3, 1933 – December 25, 2006), originally James Joseph Brown, Jr., also known as “The Godfather of Soul”, was an American entertainer. He is recognized as one of the most influential figures in 20th century popular music and was renowned for his vocals and feverish dancing. He was also called “the hardest working man in show business”.

As a prolific singer, songwriter, dancer and bandleader, Brown was a pivotal force in the music industry. He left his mark on numerous artists. Brown’s music also left its mark on the rhythms of African popular music, such as afrobeat, jùjú and mbalax, and provided a template for go-go music.

Brown began his professional music career in 1956 and rose to fame during the late 1950s and early 1960s on the strength of his thrilling live performances and string of smash hits. In spite of various personal problems and setbacks he continued to score hits in every decade through the 1980s. In addition to his acclaim in music, Brown was also a presence in American political affairs during the 1960s and 1970s.

Brown was recognized by numerous titles, including Soul Brother Number One, Sex Machine, Mr. Dynamite, The Hardest Working Man in Show Business, The King of Funk, Minister of The New New Super Heavy Funk, Mr. Please Please Please Please Her, I Feel Good, and foremost The Godfather of Soul. In the song “Sweet Soul Music” by Arthur Conley, he is described as the King of Soul.

What a gorgeous season to be outside enjoying Augusta!  Saturday my girlfriend Stacey and I rode along the Augusta Canal to explore downtown Augusta.  The Augusta Canal Heritage Area has a path you can follow all the way from the Savannah Rapids Pavilion straight into the downtown area. 

Along the way, there were all sorts of things to see. 

The trees are all turning beautiful colors.

As we got closer to town, we passed some of the old mills and historical buildings close by.  Here is Sibley Mill and the Ezekiel Harris House.

We went by a Petersburg Boat tour in progress – they’re a lot of fun too. 

They start at the Augusta Canal Interpretive Center located in Enterprise Mill.  The regular hour-long tours are narrated by story-telling guides who share all sorts of information about history, nature and wildlife. 

Once downtown, we crossed over the Butt Bridge and made our way to Springfield Village Park.

Chicago artist Richard Hunt sculpted the Tower of Aspiration that reaches to the skies above the park.

Just down Broad Street a little ways, another well-known artist, I.M. Pei, designed the pyramid-shaped structure atop this building downtown. 

And of course, no visit to downtown is complete without visiting the James Brown statue!  Here he is all decorated for the Christmas season.

We rode a little further to the Marina to check out the Head of the South Regatta with teams coming to compete from all over the east coast.

While we were down there, we also noticed you can rent bicycles and canoes at the Marina.  That means when you visit Augusta, you can ride bikes and follow our steps or create your own tour of downtown Augusta!

Afterwards, we hopped back on our bikes, totally satisfied by a beautiful morning exploring our hometown.

OD Records

Laoying Shao Road, Fenghuang, China

On the banks of the calmly flowing river Tuo, in the back water river-town of Fenghuang, sits  OD Record store.  Narrow and quaint, snugly camouflaged by tea shops and  food stores; a record store that could easily be unseen by even the most observant eye.

We enter the shop, which has more in common with a long slim corridor than your average store (the idea of browsing space, having not really caught on), and discover a wall dominated by CDs without covers.  Each CD sits in a perfectly fitted clear plastic wallet, offering neither explanation nor reason for their naked forms. I stare closely at the specimens and discover them to be neither official release, nor pirated copies, but press-release promotional CDs, the likes of which are usually sent to music journalists or radio-stations.

I stare closely at a remastered release of The Police’s Reggatta Da Blanc, and notice that each CD is dotted with  stickers offering press-friendly promotional notes in Mandarin. We stop for a minute and gaze out to the River Tuo in wonder, contemplating how a small shop in the middle of nowhere in China, could have come into such a supply of promotional CDs. We come to a swift conclusion; that the store is either an ex-writer/ radio presenter/ editor’s personal collection for sale, or else a record-label company has liquidated its stock onto the market (which, according to copyright legislation, is technically illegal).

Spurred on by the apparent rarity of the promos on hand (after-all when was the last time you saw a CHINESE promotional copy of a record!), we get flicking. A few interesting titles raise their heads; a chill out CD featuring a Radiohead remix tempts my purse strings, as does a James Brown live album from the 1980s, and Supertramp’s Greatest Hits.

I scan my eyes over the hypnotically monotonous shelving, searching for anything unusual or that I have wanted for a while. I spy Roger Water’s The Wall Live In Berlin,  haphazardly jammed at the back of one of the stands near the cash register. Recorded way back in 1990, the live album features the likes of Van Morrison, Sinead O’Conner and, erm, Cyndi Lauper, dueting with the ex-Pink Floyd singer.

Picking up on the slight interest I show, the manageress slots the The Wall into the shop’s stereo and cranks it up to 11. The opening chords of In The Flesh ring out, and a biro on top of the old speakers near the till rattles as Water’s aged voice eventually  croons, “So you thought you might like to go to the show”,  the infamous first lines of that infamous album.  I listen to the track,  reminiscent of that spine-tingling night at Live 8, and, light of its 40Y (£3.64) price tag, can’t say no.

We pay up, and wander back to the balcony of our hotel, where we listen to the album, as the sun sets over the quaint river town.

Purchase:

Roger Waters – The Wall Live In Berlin – £3.64 [Tracklisting]

Total Purchases:

Armand Van Helden – Ghetto Blaster – £1 [Tracklisting]

Club Azuli 1 – Mixed By Dave Piccioni – £0.48 [Tracklisting]

Club Azuli Part 2 – Mixed By Dave Piccioni – £0.79 [Tracklisting]

Chemical Brothers, The: Brothers Gonna Work It Out – £2.77 [Tracklisting]

Defected In The House – Mixed By Copyright – £0.79 [Tracklisting]

DJ Hardy Heller – Mix In Motion – £1  [Tracklisting]

DJ Shadow – The New Collection – £2.38

Elektrik 02 – Mixed By King Unique & Nubreed – £0.59 [Tracklisting]

Fabric 25 – Mixed By Carl Craig – £0.59 [Tracklisting]

Fabric 26 – Mixed By Global Communication – £0.59 [Tracklisting]

Le Le – Breakfast 12″ – £8.24 [Tracklisting]

Moby – Last Night – £0.59 [Tracklisting]

Roger Waters – The Wall Live In Berlin – £3.64 [Tracklisting]

Santos – Camels 12″ – £1.18 [Tracklisting]

Samim: Flow – £1.98 [Tracklisting]

Underworld – Cowgirl (Remixes) 12″ – £1.18 [Tracklisting]

Underworld – Underneath The Radar 12″ – £8.91 [Tracklisting]

Total Spend: £36.68

MILES DAVIS

Género: Jazz

(Alton, EEUU, 1926 – Santa Mónica, EEUU, 1991)

Es una de las figuras más importantes e influyentes en la historia del Jazz. Se podría decir además que lo ha revolucionado, ya que cada avance producido en este género es obra de Davis.

De joven probó en diferentes grupos de R&B locales hasta que consiguió formar un noneto con una peculiar selección de instrumentos de viento que firmó por la afamada Capitol Records. En febrero de 1957, Capitol editó 12 temas en un LP llamado Birth of the Cool. Así nació el cool jazz, el estilo que mejor se adapta a su manera de tocar la trompeta, con ese característico sonido producido por el uso de la sordina de acero Harmon, que le proporcionaba un toque más suave, personal y melódico. Davis participa con igual fuerza del bebop y del cool, como del hardbop y de la vanguardia jazzística. A finales de los 50 introdujo el jazz modal, basado en las escalas y, finalmente, en 1969, ofreció la primera fusión válida de jazz y rock, iniciando así el género conocido como Fusión. Se mantuvo en la escena durante más de 50 años, pero la falta de ideas y su conocida afición por las drogas lo apartaron durante un largo periodo de tiempo. Los ritmos funk y el inicio prematuro del acid jazz marcan sus últimos trabajos, pesé a que siempre será recordado por crear escuela en el jazz contemporáneo.

RAY CHARLES

Géneros: Jazz, Soul, Gospel, Blues

(Georgia, EEUU, 1930 – Beverlly Hills, 2004)

Ray Charles perdió la vista durante su infancia por un glaucoma, que su  familia no tuvo medios para curarle. En su internamiento en la Escuela Estatal de Florida para Sordos y Ciegos, estudió composición y aprendió a dominar el piano, el saxo y el clarinete. No había muchas oportunidades para los niños negros ciegos en la época, pero Ray era brillante y quería llegar alto.  En 1945 dejó la escuela para dedicarse profesionalmente a la música. Tras pasar muchos años tocando en clubs de música para negros sintió que tenía que dar un paso más. Decidió establecerse con un grupo independiente y logró triunfar, pero con la llegada del rock and roll y el descenso de la música racial en las listas de éxitos, Ray Charles se dio a las drogas y su adicción acabo con el mismo y con su grupo. Con el comienzo de la lucha por los derechos civiles de la población negra, Ray Charles dejó de lado su pasado, tomó conciencia y encontró una nueva inspiración con el gospel. Fue muy criticado por cantar temas populares con ritmo gospel pero lo cierto es que gustó, y mucho. Era la revolución que buscaba, Ray Charles encontró la formula que convertiría el rythm and blues en soul.

JAMES BROWN

Géneros: soul, funk

(Carolina del Sur, EEUU, 1933-  Atlanta, EEUU 2006)

Empezó su carrera musical al salir de prisión en 1952 cuando conoció a Bobby Byrd. En 1953 ingresó en el grupo de gospel ‘Starlighters’. Con él en el grupo fueron cambiando del estilo Gospel al rythm and blues y el nombre del grupo pasó a ser el de ‘Famous Flames’.y, tras cosechar numerosos éxitos a nivel nacional, lanzó su carrera en solitario y En 1958 se lanza el primer número uno de James Brown, ‘Try me’.

En 1962, el disco “Live at Apollo” vendió 1 millón de copias: un éxito sin precedentes para un LP de música negra. Su legado continuó hasta el día de su muerte, cosechando numerosos éxitos que irían definiendo el funk como tal. Conocido por su desgarrada voz y sus frenéticos movimientos de cadera, el “hermano numero uno del soul”, ha recibido numerosos apodos a lo largo de su carrera: “padre del soul”, Mister Dinamita”, “el trabajador más importante de la industria musical”, entre otros definen su trayectoria a la perfección. Lo que se llamó soul en los sesenta, funk en los setenta y rap en los ochenta, viene directo del estilo musical de James Brown.

ISAAC HAYES

Géneros: Soul, funk, R&B, Disco.

(Tennessee, EEUU, 1942 — Memphis EEUU, 2008)

No sólo es un artista imprescindible para entender la historia de la música negra sino  que además se adelantó a la música disco y fue de los primeros en adentrarse en el rap. Durante finales de los 60 y principios de los 70 fue uno de los principales artistas de Stax Records, convirtiéndose en el estandarte del sonido del sello. Tenía olfato para los sonidos diferentes y se ganó una reputación dentro de la compañía, por lo que pudo impulsar su técnica en solitario y publicó con inesperado éxito Hot Buttered Soul. A él se le debe parte del avance de los sonidos negros hacia el funk, con arreglos menos sentimentales y más bailables y sensuales. Pero el reconocimiento del público llegaría en 1971 al ganar el Oscar y dos Grammy por su canción Shaft para la película homónima. En 1972 ganaría otro Grammy por su álbum Black Moses, en cuya portada aparecía como el mesías negro. No lo era, pero a día de hoy muchos raperos estadounidenses reconocen su legado. Al fin y al cabo, su música tuvo algo que ver para la consagración del soul, el funk y lo que llegará después.

MICHAEL JACKSON

Géneros: Pop, Soul.

(Gary, EEUU, 1958 – Los Ángeles, EEUU, 2009)

Comenzó su andanza de la mano de sus hermanos mayores formando The Jackson Five, con la discográfica Motown. En 1971 comenzó su carrera en solitario con el álbum “Got to be there”. Aunque no fue hasta 1975, tras su intervención en la película “El mago de Oz”, donde conocería a Quincy Jones, el que sería su productor musical en los años siguientes, y el que le ayudaría a cosechar tantos éxitos. En 1979 sale al mercado  “Off the wall”, disco que le dio la nada despreciable cantidad de 20 millones de copias vendidas. Pero su coronación como “Rey del Pop” fue el álbum “Thriller” del cual vendió 110 millones de copias en todo el mundo, siendo el álbum más vendido de la historia de la música.

En los años siguientes siguió sacando discos y el cantante decidió retirarse del mundo del espectáculo con la gira “This is it”, que se vió truncada a finales de Junio debido a la trágica muerte del cantante.  Y a pesar de su turbulenta vida llena de polémicas, Michael Jackson será recordado por su habilidad para la música, el baile y la creación de espectáculo. En definitiva, ya podemos considerar a Jackson una leyenda.

O que seria da música sem as grandes vozes negras? Nada melhor que o Dia da Consciência Negra para lembrar grandes ícones que marcaram e marcam a história sonora mundial. Talento, intensidade e paixão definem a grande parte deles.

1. James Brown
Um dos nomes mais influentes do século XX, James Brown é com certeza o “King of Soul”. Sucesso nos anos 60 e presença importante até mesmo na política, o cantor tem 6 dos seus singles na lista das 500 canções de todos os tempos da revista Rolling Stones.

2. Ella Fitzgerald
Mestre do improviso, da boa técnica e do excelente repertório. Aos 19 anos, Ella já era considera a dama do jazz. Depois de uma trajetória brilhante, a cantora é referência para a maioria das gerações que se encantam pelo estilo e ícone da música mundial.

3. Whitney Houston
Nomeada como uma das melhores vozes femininas, Whitney é influência na carreira de várias cantoras da atualidade. Foram 160 milhões de discos vendidos no mundo e o terceiro contrato mais caro já pago a uma artista feminina solo. 19 singles em primeiro lugar não é pra qualquer artista.

4. Cartola
Sambista que se preze deve conhecer esse nome. Compositor e cantor, Cartola foi um marco brasileiro para o mundo. Quem disse que as rosas não falam, se enganou por não ter ouvido o querido Agenor.

5. Michael Jackson
É impossível não colocar o Rei do Pop entre as grandes figuras negras. Apesar do “branqueamento”, Michael começou com os cabelos black nos Jackson 5, e só mais tarde veio romper com isso. Sua carreira não pôde ser mais brilhante e vanguardista, o astro foi recorde em inúmeras categorias.

6. Bob Marley
Com letras que questionava o mundo e uma sonoridade vinda da Jamaica, Bob é o maior representante do reggae mundial. Regravado por várias gerações, o cantor levou em 2001 o Grammy pelo Conjunto da Obra.

7. Beyoncé
Alanvancando sua carreira no grupo Destiny’s Child, Beyoncé é hoje uma referência no cenário R&B/Pop mundial. Dona de uma voz potente, a cantora é apontada por um trabalho inovador e surpreendente. Com Sasha ou com ela mesma, é sempre um grande prazer conferir seu trabalho.

8. Gilberto Gil
Tropicalista, irreverente, cultural. Nenhum negro seria melhor para representar a música popular brasileira que Gilberto Gil. Detentor de uma obra grandiosa, o multiartista é impulsor de grandes projetos culturais e representante de um dos melhores períodos musicais do Brasil.

9. Alicia Keys
Potência e sucesso. Alicia Keys define bem esses dois conceitos. Vencedora de 14 Grammy, a cantora estreou sua carreira com “Songs In A Minor”, muito soul e uma polêmica envolvendo James Brown. Tudo resolvido, hoje Alicia prepara o quinto álbum de carreira e promete, mais uma vez, mostrar que é um verdadeiro talento da música.

10. Jay-Z
No segmento musical do Rap, os EUA ganham destaque. Berço de grandes nomes, o Brooklyn mostrou ao mundo Jay-z. Grande parte da sua criação foi sucesso na voz de artistas como Mariah Carey e Beyoncé. O rapper é o homem de negócios da indústrial musical.

Por Patrick Moraes

You know we need it, we got to have it, know we want it, got to have it, give it to me. What are we talking about? Soul Power! Say it loud. Soul Power! Not only is it the title of one of James Brown’s most incendiary slabs of pure take no prisoners red hot funk from 1971 (with the original JB’s) , it’s also the name of Jeffrey Levy-Hinte’s new doco charting the 3 day music festival that accompanied 1974’s Rumble In The Jungle, Muhammad Ali pitted against George Forman for the world heavyweight championship in deepest darkest Zaire. Soul Power (Madman) is a fly on the wall of the festival from the logistical nightmare setting up, to the incredible performances. Brown with a super cool mustache was the star attraction ripping through Same Beat, Payback, Cold Sweat, Say it Loud (I’m Black and I’m Proud). His performance is magnetic, frenzied, sexual “It was like a devil set,” offered Levy Hinte when I spoke with him earlier this year, “I really could have made a James Brown concert movie.”

Yet perhaps some of the most compelling moments of the film, which also includes Celia Cruz, a very young Sister Sledge, BB King, Bill Withers, Miriam Makkeba, OK Jazz, and Tabu Ley amongst others, occurs with the US performers on the streets of Zaire. Excited about returning to the motherland, they’d burst into these spontaneous jam sessions with the locals, creating beautiful unguarded moments of cultural connection where the musicians stop strutting and the camera feels like it disappears. “I wish I had more of it,” sighed Levy-Hinte, “that whole feeling you can see it on their faces. It was such a special experience for the musicians to go back to Africa, to the roots and really commune with people.” The problem however is lack of extras, this could have been a five disc set. It’s a great film, but also a wasted opportunity, three quarters of Brown’s performance is still on the cutting room floor.

It’s been described as the SXSW of world music, and there’s no denying the wealth of interesting music and possibilities on hand at the second annual Australasian World Music Expo. By day it’s a trade fair with panels, presentations and workshops, and by night it’s a series of showcases of artists from the UK, Australia, Papua New Guinea, New Zealand Vanuatu, India, New Caledonia, Solomon Islands, you name it. Highlights include The South Seas Concert which features a bunch of PNG and West Papua string bands curated by David Bride, the UK’s Mad Professor doing live dub mixing on Melbourne’s The Red Eyes, and of course Mad Professor’s dub/ reggae workshop. Just spilling the beans on how he was able to work with Lee Scratch Perry would be enough for this writer. Fragmented Frequencies is also keen to check out The Chooky Dancers from Arnhem Land, who’s unique interpretation of Zorba the Greek made them internet stars -they’re helming the From Tradition to You-tube workshop. It’s mind blowing, it’s crazy it’s a veritable feast of world music and it’s on from the 19-22nd of Nov in and around the Arts Centre with many of the performances free, check www.awme.com.au for more details.

Finally after 22 years together Australia’s The Neck’s are back with Silverwater (Fish of Milk), a 67 minute piece that is essentially a series of musical movements. Though it’s still improvised, they’re a long way from their jazz roots, nowadays trading in these exotic sounding drones, electronic and rickety percussion material. It’s earthy and sounds somehow like world music, but it’s just difficult to determine which world. Firstly there’s the percussive bamboo sound of the Indonesian Anklung, then there’s Buck’s interpretative and peculiar use of his regular kit, then there’s these electronic glitches hidden amongst the percussion, and finally Buck’s strange calming repetitive guitar work. It’s minimal, quite experimental, often with one of the members silent for long periods of time. Yet it’s also quite beautiful, almost transcendent. The trio are creating whole new structures before our very ears, whole new framework for putting music together, new even for them. This album is multi layered, a textural delight and totally uncatagorizable. It’s genius.