Not very many reggae albums acknowledge Alan Lomax in the credits. But then, African Head Charge (a band with a constantly changing membership led by percussionist Bonjo Iyabinghi Noah) doesn't really make typical reggae albums. Although the one-drop beat (provided on this album by Lincoln "Style" Scott) influences everything and the basslines have a typical tidal undertow, the stuff that Noah layers on top of the mix has more to do with ethnomusicology than the dancehall. The song titles say it all: "Cattle Herders Chant," a field recording of call-and-response chanting overlaid with Nyahbinghi drums and highlife guitar; "My God," eerie, minor-key African-American church singing supported by a chugging reggae bassline, bare-bones drumming, and the sound of running water; "Deer Spirit Song," an unidentifiable indigenous song in 9/8 meter with a gently driving rockers beat and occasional sound effects thrown in. This is an exceptionally beautiful album, but in a deeply strange way.
14 Track compilation album featuring Jamiroquai, Benjamin Zephaniah & others.
If you know his name at all, it's as one of the founding members of the legendary experimental German rock group Can. But Holger Czukay's been mighty busy on his own over the last few decades, collaborating with the likes of David Sylvian, Brian Eno, and Jah Wobble; he's been remixed by the Orb and U.N.K.L.E.; and he's probably the first musician ever to have applied Edgard Varèse's principles of musique concrete to rock & roll (though he's certainly not the last). So with such an impressive resume, what does his first solo album in six years sound like? Well, lots of things.
The making of the new Little Axe album Bought for a Dollar, Sold for a Dime, launched May 21st in London with a live mix by On-U Sound label founder and Little Axe producer, Adrian Sherwood and released June 7th.
'Bought For A Dollar, Sold For A Dime… Addictive rhythms. Soulful vocals. Pinches of dub and funk, reggae and gospel. Oh-so-subtle samples and innovative electronics. And underpinning it all, Skip McDonald's shimmering blues guitar licks, conjuring a space where the dirt roads of the Deep South meet the shiny lanes of the Information Superhighway', says record label Real World Records.
Perry's time in London in the 80ies also resulted in Time Boom X De Devil Dead,(source: http://www.trouserpress.com/entry.php?a=lee_scratch_perry)
a collaboration with British dubmeister Adrian Sherwood.
Influenced by Perry in the past, co-producer Adrian Sherwood provides a steadying hand,
so the music is consistent, even if Perry's personality — he does all the singing — seems restrained.
While perhaps lacking the eccentric edge of Perry's own work, the album is still weird and wonderful,
a sample of some of the best avant-garde groove music being made today.