 Over the years, independently produced music has been an important creative driver for the recording industry. From Elvis Presley, James Brown or Schoolly D selling their records from the trunks of their cars to the latest independent artists promoting themselves digitally, the independent, DIY spirt of music has never and will hopefully never change.
Big Surr is a great example of this attitude. Hailing from Nashville they have been releasing some great garage/surf punk inspired music since 2010. Their latest release features a re-recording of this song. It’s a tamer and potentially more marketable version, but for me it loses that same honesty and liveliness they originally captured. The version featured here might be considered a “demo” by them and the recording industry, but for me it’s what true independent music is all about, that honest, raw, energetic, soul-filled passion that made its way to tape (or the “cloud” these days). Since I’ve met this song, I’ve been alright… Happy New Year Everyone!
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 In the 1980’s, hip hop and rap music were raw and drum machine driven with very little room for musicality. As technology progressed and became more affordable, sampling took on a more prominent role. Artists like Gang Starr, Stetsasonic, and The Jungle Brothers utilized jazz heavy samples in their songs, creating a new form of musical expression.
Dream Warrior’s 1990 single “Wash Your Face in My Sink” was one of the finest examples of this. Featuring the frown proof Count Basie version of “My Girl Sloopy,” “Wash Your Face in My Sink” was a lighthearted Canadian take on braggadocio. I adore this track, and although Dream Warriors were never a success in the US like they were in Canada and Europe, their 1991 album And Now the Legacy Begins features some fantastic ideas and is often overlooked.  In 1958 Fela Anikulapo Kuti traveled to England to study medicine but decided to study music instead. By 1961 his band Koola Lobitos was a fixture on the London club scene. Two years later Fela returned to his native Nigeria to make musical and political history.
“Se E Tun De” was originally released as a 45 on Philips-West African-Records (date unknown – sometime between 1963-1968). It’s a warm upbeat recording featuring some of Fela’s earlier ideas with traces of James Brown and American R&B. I love the basslines on this track and its link between classic Highlife and the Afrobeat style of music Fela and his drummer Tony Allen would eventually be known for. |
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