According to the Daptone Gold
compilation liner notes
(auto-playing music, click on "Biography"to read the notes), written by Pitchfork contributor Douglas Wolk
, "the world capital of soul" has moved from the US ("between Memphis and Detroit, with occasional stopovers in New Orleans, Cincinnati and elsewhere") in the 1960, to Lagos in the 1970s, then it went into hiding, finally reappearing in Brooklyn, with Daptone Records
. Let's go back - why Lagos in the 1970s? [more inside]
posted by filthy light thief
on Aug 18, 2014 -
"His work is rooted in the power of collaboration within systems: instructions, rules, and self-imposed limits. His methods are a rebuke to the assumption that a project can be powered by one person’s intent, or that intent is even worth worrying about. To this end, Eno has come up with words like “scenius,” which describes the power generated by a group of artists who gather in one place at one time. (“Genius is individual, scenius is communal,” Eno told the Guardian, in 2010.) It suggests that the quality of works produced in a certain time and place is more indebted to the friction between the people on hand than to the work of any single artist." The New Yorker'
s Sasha Frere-Jones on Brian Eno's career and new album High Life.
posted by porn in the woods
on Jun 30, 2014 -
The original discotheque DJs of the 70s weren’t restricted by genre – they mixed up soul, funk, rock and experimental music to create the nascent disco sound. The Sofrito
sound starts from the same point but draws from the tropics - combining bassline soukous, cosmic highlife, stripped-down drum edits, raw carnival rhythms, Manding vibes, scratchy calypso and modern productions that continue in the grand tradition of the discotheque, from Abidjan to Detroit via London, Paris and beyond...
posted by Tom-B
on May 13, 2013 -