watch: janelle monáe drops two (2!) videos for new singles off upcoming album
Janelle Monáe’s new singles from her upcoming album ‘Dirty Computer’.
She goes full hip-hop in ‘Django Jane’ single & video, while ‘Make Me Feel’ is a funky joint with a video directed by Alan Ferguson (Solange’s husband!)
george clinton’s band parliament unleashes first track since 1980 and it’s funky fresh!
After teasing us with a possible (though perhaps improbable) collaboration with rap star Cardi B, funk legend George Clinton has blessed us with something a little more concrete—a new single from his band Parliament.
In the same AMA where Clinton said the “Bodak Yellow” rapper “got the funk,” Clinton discussed “I’m Gon Make U Sick O’Me”, the band’s first track since 1980, and the reunion of Parliament. “Because the last album was Funkadelic First Ya Gotta Shake the Gate. It’s Parliament’s turn,” Clinton wrote. “The new album is Medicaid Fraud Dog featuring the PFunk horns Fred Wesley, Pee Wee Ellis, Greg Thomas and Benny Cowan. The next album will be P-Funk Allstars.”
“I’m Gon Make U Sick O’Me” is just as groovey as ever, assisted by synths, rapper Scarface, and a chorus of female singers.
Check out the funky track below!
premiere: fishbone’s angelo moore tears it up on the latest from funk supergroup the big ol’ nasty getdown “creatures of habit”
Since day one, funk collective The Big Ol’ Nasty Getdown has specialized in pulling together the best of the best from the world of funk, soul and R&B. This time around, they’ve added a little funk metal and ska punk into the mix with collaborations from Vernon Reid of Living Colour and Fishbone legends Angelo Moore, Norwood Fisher, and Dirty Walt. Reportedly their forthcoming Volume 2 started by getting all the members together at a cabin in Asheville, NC for a week to jam and just see what happens. And what happened is epic. “Creatures of Habit” rides that chemistry pairing Angelo Moore with some preposterous Vernon Reid shredding and a massive horn section. It’s exactly the kind of jam you need to start your year right.
legendary funk act ohio players drummer james “diamond” williams opens up about his band’s legacy and the future of funk
There are few artists who have made as big a mark on music as The Ohio Players. Starting in 1959, the band evolved from their R&B roots to become a pioneer of funk. Their 70’s run of hits included classics like “Love Rollercoaster,” “Funky Worm,” and “Fire,” but the band cemented their immortality in the early days of hip-hop, when their beats were mined to form the backbone of the movement. Even if you’ve never heard a record by The Ohio Players, in 2017 it’s almost impossible that you haven’t heard them—drummer James “Diamond” Williams in particular. Though the group stopped recording in the late 80’s, they never stopped playing live. This past year, they went back into the studio for the first time in 30 years to record Reset. We recently got the opportunity to talk to Diamond about his legacy and resetting the music scene.
What were you trying to reset with this new record?
We’re trying to hit the reset button on live performance, live recording. And ahere’s a bit of political connotation in reset. People need to hit a reset button in a lot of things; in truth and in honesty. Putting things back, and when I say back I mean forward. I have have compared this album that we’re working on—hopefully-to the Marvin Gaye What’s Going On album. Talking about the things that were going on in the world and looking at things how they are. That’s what we’ve always done as The Ohio Players. We’ve always had period piece albums a I call them. Skin Tight was one of them. Honey was another. Fire was another. Contradiction was another. This album, Reset is a period piece for us.
There’s definitely a lot of similarities between the Trump era and the Nixon era. Do you feel like the world is ripe for the same musical revolution you were a part of back in the day?
I do. And I compare that with what is mechanically being used today; people sampling and using tracks and such things as auto-tune to sing. In comparison with bands going back and playing and singing everything live. It’s a funny thing, when in the 70’s and 60’s music was performed by people. Aretha Franklin didn’t have auto-tune. Stevie Wonder didn’t have auto-tune. Marvin Gaye didn’t have auto-tune. Coincidentally, the had talent.
Now that’s not to say that the people who use such things don’t have talent. I’m not saying that for one minute. I totally respect automation and how it’s been able to move certain industries along. Being a drummer, I was the first one that they picked on with this automation thing cause they worked on drum machines first. That’s the first thing they tried. But nothing replaces a real drummer. You can tell it in the music. So it’s about hitting a reset on all of this stuff. Let’s hit a reset
Well it’s funny you mention sampling. I believe it’s you guys, George Clinton and James Brown are the most sampled artists in history. Have there been any songs that sampled you that you really liked?
Oh my. Well, most of it. They say any time someone mimics you or does something you’ve done before is just the highest form of flattery, and we have been flattered in a lot of instances—and paid too, as a matter of fact. But all of it I’ve liked. Some of it I’ve had a little disagreement. When Snoop did his thing with the “I Want To Be Free” solo, I wanted to call Snoop up and say “Snoop, you should have called me. You wouldn’t have had to go through that publishing situation. I play that solo the that way every night!”
He could have called me, we could have had the band come in there and we could have made the track differently. He used the “I Want To Be Free.” We could have published something else. I could have played that same 4 bar solo as I do every night and we could have done something else with it. I could have played another 4 bar solo. Why didn’t you call us? Things like that. When these rappers, they snatch some of our stuff and use a 4 bar turnaround or whatever whatever, they could have called The Ohio Players and done something on the collaborative side.
Are there any kids that are sampling your work or inspired by your work that you would want to work with? If you put out a record with a bunch of rappers as guest artists, who are the artists out there that you’d want to work with?
It would be too many numerous to mention. There are so many rappers out there I’d hate to leave anybody out. But I’ll tell you what, Jay Z and what Jay Z’s doing; I’d love to work with Jay Z. Some of the rappers I really like aren’t around anymore. I thought that Tupac was so gifted and talented. It was just stupid ridiculous what Tupac was doing. And Biggie likewise. I thought those boys were very talented in what they did. We’re willing to work with any and all.
On the new record, do you have any collaborations? Or is it all original members?
We have four original members within the band. It’s an eleven piece band on stage. Doing sell-outs everywhere we perform.We performed at LA last weekend, we had 300,000 at the taste of LA. So the band is doing quite well. We have 4 original members Billy Beck, Chet, Robert Jones Kuumba, and myself. We’re ready to go.
You guys were always more of a collaborative band, how do the new members fit into the old chemistry? Do you have to teach them how to sit in the pocket? Or do they come in already knowing how to be an Ohio Player?
We have added a couple guitar players over the last 3 or 4 years. Everybody else that’s been in the band has been in the band has been in there for over 20 years. I’ve been in the band 45 years. Most of the guys have been in the band over 30 years. There’s nobody that we’re bringing in new. I brought in a couple of guitar players. One of which is from Dayton, Ohio, Chris Bowman. The other one is from Youngstown, where Billy Beck is from. His name is Edward Rick Ward. They came in the band 3 or 4 years ago. Chris Bowman is the lead guitar player doing the solo work on Reset. Those guys have come in and made their way. When it’s a good fit, it’s a good fit. If it’s not a good fit, Nathan, I fire them!
When you were 25 and making those first records did you think you’d still be out there on the road doing those songs in your 60’s?4
Not for one moment! When I was 25, 26 years old I ran into the drummer who was Gladys Night’s music director at the time. I said “how old are you?” And he said 39, and I said to myself “there’s no way I’ll be on the road doing this at 39.” Here I look back—last year was 67! Are you kidding me? I have passed 39 by a few years! I always thought I’d go into law or I’ll go into another area, be a professional somewhere else. This music thing is great, but tiny did I now that I’d still be around and having a great time.
These last few years out on the road has been absolutely marvelous. We did the Hollywood Bowl twice in the last 3 years. We didn’t even do it in the 70’s! They said we stole the night. I think we stole the night, cause we’re just that way. This year has been the only year in 45 years that people are booking this band for next year before we’re even out of there. They’re calling back saying “I need to book this band next year, how much does it cost?”
Damn! I feel like a lot of bands from the 70’s have that point where they’re seeing diminishing returns. There’s not a lot of bands that are still moving and growing at this point in their careers.
I tell you another thing. There aren’t a lot of other artists that are playing everything live on stage every night. The Ohio Players play and sing everything live on stage. There’s not a band in the world playing The Ohio Players’ music better than The Ohio Players.
Well that’s for damn sure. What do you think it is about your music—and about funk globally—that’s survived the test of time?
I think it has to do a lot to do with the subject matter and the musicality; the way the songs were written and the way the songs feel. You’re not going to get the same feeling from a machine as you do a person. It’s impossible. It’s like nobody’s perfect in life, and machines have too much perfection. You can’t put a spirit in a machine. But every time you put a band together in a studio, those spirits from that band go on that recording. That cannot be duplicated. A lot has to do with that. A lot has to do with the fact that during that period of time there were just incredible songs being written. We just tried to hang on there and write good music. Out of all the millions of songs that have been written, to have your music still being played after 45 years is quite an accomplishment.
Oh for sure, I mean I think that’s the goal of basically every artist ever.
And then to be able to listen to it, and play it! This is a new record. And we have a number of new records already in the barrels ready to download. We want to introduce this band back to recording. To hit a reset button and let people know we’re still here and we’re still capable of writing hit records. We hope this is one of them.
premiere: groove to bootsy collins collaborator alissia’s neo-funk disco anthem ‘get away’
A collaborator of Bootsy Collins, Alissia is a producer turned funk-inspired eclectic soul artist bringing back the glittering vibes of the Disco era. When not working with Khalid, Havoc, Anderson. Paak, Q-Tip and features on Collins’ forthcoming ‘World Wide Funk’, Alissia’s been flexing that muscle to create a new sound just for herself: Light, but layered, throwback, but with its own new school flavor. “I felt like it was time to write and produce a song that I release under my name which I haven’t done in a while. The video reflects my musical inspiration in different places in the city that never sleeps. I hope people will vibe to it! ”
seize the day with the help of funk collective the queen’s guard’s track “blink”
Sometimes you need a little classic funk to get your day going right. With a wobbly bassline and a tight groove, The Queen’s Guard gets your body moving on “Blink.” Singer Blanche Johnson’s voice cracks and wails with a message we all need to keep in mind: “You think you got time / But not as much as you think / You could be here one day / Then be gone in a blink.” Seize the day, get down. Carpe funk.
iconic funk producer/songwriter amp fiddler returns with j dilla-produced groove, “return of the ghetto fly”
Amp Fiddler has always been one of those artists other artists listen to and ask: “hold up, how the fuck did he do that?” Though he didn’t drop his first solo record until 2004’s cult classic Waltz of a Ghetto Fly, Fiddler had already changed music history 10 times over. Starting as the keyboardist in P-Funk in 1983, Amp spent a decade exploring the squeals and squiggles synth manufacturers didn’t intend, before he unleashed his prodigy into the world: the late great J Dilla. Amp Fiddler introduced Dilla to the MPC sampler and mentored him in sampling techniques and producing. So it’s fitting that on Amp’s newest album, he’d bring the whole family back together for the first single.
J Dilla reportedly gifted Amp the beat after Amp found a zip disk Dilla lost. Given how thoroughly mined Dilla’s tapes have been over the years in search of any last traces of genius, it’s exhilarating to hear something new. Especially in this match-up between mentor and protegee. The song announces Amp Fiddler’s return to form, calling back to Waltz, but brings in new collaborators and new sounds. It’s the best mix of old and new. Dilla would be proud.
indie r&b icon van hunt’s lost album ‘popular’ is released after 10 years
Unreleased albums create an alternate universe of what-ifs. What would have happened if Hendrix had ever gotten to release Black Gold, or Prince’s Camille (or Dream Factory or or or or), or Zach de la Rocha’s solo album? The list is long and tied to complex webs of intellectual property law, estate control, and arcane label contracts. Some of these what-ifs were answered decades too late, like The Beach Boys’ Smile, and Death’s …For The Whole World To See…, but Van Hunt’s latest, Popular occupies a strange place in that land of alternate realities by being a decade late but sounding like it was recorded last week. Maybe in this case, it took the world a decade to catch up.
Van Hunt recorded Popular in 2007, but because of various label ownership drama, was shelved by Blue Note’s then parent company EMI. Hunt went on to release What Were You Hoping For and The Fun Rises, the Fun Sets, on his own label, but Popular sat tantalizingly unreleased in Blue Note’s vault. Hunt had declare the album his most personal and was reportedly devastated by the decision to shelve it. Fast forward a decade, and Blue Note is under new ownership. Recognizing that the sounds Van Hunt was pioneering 10 years ago are suddenly everywhere, the world was finally ready for Popular.
The album is definitely a document of a tumultuous period in Van Hunt’s life. The songs veer wildly between post-punk breakup anthems, folky reminiscence, and R&B seduction. It’s easy to hear the turmoil in his life, particularly on cuts like “Ur A Monster,” plays like a mini-opera.
Echoes of Prince abound, with “The Lowest 1 Of My Desires” mutating the future funk into an industrial-tinged fulfillment of Trent Reznor’s famous declaration that he was just trying to make a Prince album with Pretty Hate Machine. The come-ons aren’t just come-ons, there’s an acknowledgment of the hollowness of the whole thing. “Jump on the ground and wrestle with my shame / Because I don’t want to hide behind anything.”
When the weary optimism of “Finale (It All Ends In Tears)” rolls, it’s hard not to hear a metaphor for the album itself. It’s a love song that acknowledges that it’s all going to end in tears. Heartache is inevitable, but it’s worth the pain. The process of bringing Popular out of the shadows has been full of heartache too for Van Hunt, but hearing it after such a long wait, there’s no question it was worth the pain.
garage-blues duo the london souls funk it up with con brio for ‘split 7″‘
One of my favorite things in all of music is when bands from totally different ends of the musical spectrum team up to show some mutual appreciation. Sometimes this can have disastrous results (sigh, Lulu), but when it works, it’s just fucking fantastic. That’s how you end up with a split 7” featuring the vintage garage blues of The London Souls and the funk and R&B of Con Brio.
Their two contributions don’t carry a common theme, and the 7” mostly stems from London Souls’ Chris St. Hilaire and Con Brio’s bassist Jonathan Kirchner having grown up together. But the two tracks both kill in their own ways. And both owe an uncertain debt to the music coming out of Memphis in the late 50’s and early 60’s. The London Soul’s “Certain Appeal” is a stripped down shuffle with a boogie-woogie piano taking on a world oversaturated with constant advertising and reality TV. Con Brio’s “All Over Me” is a little more next-wave but those horn licks sound straight out of that Stax records dirty R&B. Either side of the 7” is going to get your blood pumping. And look, I make it a policy not to trust anyone who only likes one kind of music. So the only question is: which side do you spin first?