BLACK MERDA et RASPUTIN STASH ???
BLACK MERDA et RASPUTIN STASH ???
Jamais ils ne se seraient appelés comme ça s'ils étaient français.. enfin comment est l'album "folks from mother mix"?
De même l'album du groupe Rasputin Stash "devil made me do it" vaut-il le coup?La pochette est cool en tout cas ...est -ce du gros son bien "wah wah" comme je l'aime ..
De même l'album du groupe Rasputin Stash "devil made me do it" vaut-il le coup?La pochette est cool en tout cas ...est -ce du gros son bien "wah wah" comme je l'aime ..
- Phil
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Hello Samir, j'ai vu le CD dont tu parles sur amazon, et il s'agit des 2 LP's originaux du groupe Black Merda, sortis en 70 et 72.
C'est dans un style blues/psyche cool et éthéré, un peu comme le Hendrix de "Ezy rider' et "Cry of love", et très agréable à écouter.
Là je parle du premier,le second, je l'ai écouté il y a très longtemps.
Pour Raspoutin Stash, je ne peux rien t'en dire, je connais que le nom.
C'est dans un style blues/psyche cool et éthéré, un peu comme le Hendrix de "Ezy rider' et "Cry of love", et très agréable à écouter.
Là je parle du premier,le second, je l'ai écouté il y a très longtemps.
Pour Raspoutin Stash, je ne peux rien t'en dire, je connais que le nom.
- Wonder B
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Ben moi c'est le contraire LOOOOOOOOOOOOOL
J'ai les deux Black Merda et les deux Rasputin Stash et je préfère le second groupe... Le premier RS est un peu plus rock/psyché au niveau guitare mais le deuxième que tu mentionnes sur Gemigo le label de Curtis Mayfield est très bien wah wah et tout le Saint Frusquin... du bon funk early 70's!
J'ai les deux Black Merda et les deux Rasputin Stash et je préfère le second groupe... Le premier RS est un peu plus rock/psyché au niveau guitare mais le deuxième que tu mentionnes sur Gemigo le label de Curtis Mayfield est très bien wah wah et tout le Saint Frusquin... du bon funk early 70's!
Wonder B
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- davepike
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Posté le: Jeu Oct 06, 2005 9:52 pm
On doit au label FUNKY DELICACIES la réédition de l'album :
http://www.tuffcity.com/html/funksoul.a ... umList=307
EDIT1
Posté le: Jeu Oct 06, 2005 9:54 pm
EDIT2
Et pour les amateurs de pochettes... euh... hasardeuses :
Posté le: Jeu Oct 06, 2005 9:55 pm
EDIT3
BLACK MERDA
Detroit, circa 1969: The house lights of the packed Casino Royale dim. The club’s vibe is electric, the fog of cigarette and reefer smoke thicker than a Scottish moor. Four tall figures emerge from the wings of the stage, one settling in behind his drum kit, the other three drifting over to their guitars. As each man passes in front of his gear, the glowing red eyes of the guitar amps seem to wink conspiratorially at the audience.
Cords are twisted. Knobs get adjusted. Then, abruptly, the signature wail of a wah-wah cuts through the haze. The other guitarist replies with a brittle chucka-chucka-chuck-chuck and the drummer fires a machine-gun snare volley. Easing his way into the fray, the bassist nods his head in time with the beat. At the precise moment the stage lights flash on, he leans into the mic to grunt out a primal hunnhh! and the quartet slams into “Cynthy-Ruth,” a thick mélange of Hendrixian psychedelia, Muddy Waters-style chain-gang blues and dirty-ass funk.
This is Black Merda: siblings Anthony “Wolfe” Hawkins and F.C. “Little Charles” Hawkins on guitars and vocals, VC L. “Veessee” Veasey on bass and vocals, and Tyrone Hite on drums. Their visual impact is as arresting as their sound, all towering Afros, striped bellbottoms, flashy shirts and dangling scarves. And their reputation precedes them, with Merda hailed in local corners as being tighter and heavier than Parliament-Funkadelic, and pursued by such Motor City heavyweights as Norman Whitfield and Eddie Kendricks. Later the group will be courted by West Coast legends War, and in years to come the Merda praises will be sung by a choir of hipsters including Julian Cope, the Beastie Boys, DJ Z-Trip and Peanut Butter Wolf.
Merda’s musical fusion was unlike what was coming out of the African-American musical community at the time. Doing the “freaked-out thing” (as Veasey puts it now), the four men of Black Merda were acutely aware of being a breed apart from their Motor City (and national) peers.
“What we were doing was very different,” Veasey says. “These other [black] groups were kind of going into funk-rock then they switched to playing funk-dance music, but we were into doing psychedelic music. We’d play shows around the Detroit area and we used to do the psychedelic dress before Funkadelic were doing it, when they were still the Parliaments and still dressing like the Temptations. We dressed like that off the stage as well. Our dress, those clothes, we used to live like that every day.”
Laughing, Veasey adds, “We were young, fairly good-looking guys with these big Afros — and we were good.”
Ellington “Fugi” Jordan, a Merda friend and collaborator, says the band’s style came down to two words. “Black Merda considered the music they were playing a form of ‘black rock,’” he says. “I asked Veasey one day, ‘Veasey, why do you call it black rock?’ VC is a very straightforward guy, and he just said, ‘Because that’s what it is. We’re black and we’re playing rock!’”
Black rock: Author/deejay Rickey Vincent, in the chapter titled “Black Rock: Givin’ It Back” from his 1996 treatise Funk, correctly notes how rock ’n’ roll, despite being pioneered by Chuck Berry, Bo Diddley and Little Richard, had essentially become a white phenomenon by the early ’60s. With the eventual ascent of the hippie counterculture, however, intermingling of black and white styles was inevitable, and he cites in particular the hybrid music of Jimi Hendrix and Sly & The Family Stone as integral to the cross-pollination. Vincent writes, “Uprooting racial (and musical) stereotypes with each new release, Jimi and Sly utilized the freedom inherent in rock and roll to expose thriving new visions of society — visions induced by the social revolution of the black man in America and articulated by these black men.”
Je laisse le suspense entier... Pour lire la suite c'est ici :
http://www.metrotimes.com/editorial/story.asp?id=7042
EDIT4
Le site du groupe actuel :
http://www.blackmerda.com/
Posté le: Jeu Oct 06, 2005 10:03 pm
EDIT5
Parce que oui, ils tournent encore de nos jours les bougres !
Petite discussion en février dernier sur le forum de SOUL STRUT :
http://soulstrut.com/ubbthreads/showfla ... Post294572
On doit au label FUNKY DELICACIES la réédition de l'album :
http://www.tuffcity.com/html/funksoul.a ... umList=307
EDIT1
davepike a écrit :On doit au label FUNKY DELICACIES la réédition de l'album :
Posté le: Jeu Oct 06, 2005 9:54 pm
EDIT2
Et pour les amateurs de pochettes... euh... hasardeuses :
Posté le: Jeu Oct 06, 2005 9:55 pm
EDIT3
BLACK MERDA
Detroit, circa 1969: The house lights of the packed Casino Royale dim. The club’s vibe is electric, the fog of cigarette and reefer smoke thicker than a Scottish moor. Four tall figures emerge from the wings of the stage, one settling in behind his drum kit, the other three drifting over to their guitars. As each man passes in front of his gear, the glowing red eyes of the guitar amps seem to wink conspiratorially at the audience.
Cords are twisted. Knobs get adjusted. Then, abruptly, the signature wail of a wah-wah cuts through the haze. The other guitarist replies with a brittle chucka-chucka-chuck-chuck and the drummer fires a machine-gun snare volley. Easing his way into the fray, the bassist nods his head in time with the beat. At the precise moment the stage lights flash on, he leans into the mic to grunt out a primal hunnhh! and the quartet slams into “Cynthy-Ruth,” a thick mélange of Hendrixian psychedelia, Muddy Waters-style chain-gang blues and dirty-ass funk.
This is Black Merda: siblings Anthony “Wolfe” Hawkins and F.C. “Little Charles” Hawkins on guitars and vocals, VC L. “Veessee” Veasey on bass and vocals, and Tyrone Hite on drums. Their visual impact is as arresting as their sound, all towering Afros, striped bellbottoms, flashy shirts and dangling scarves. And their reputation precedes them, with Merda hailed in local corners as being tighter and heavier than Parliament-Funkadelic, and pursued by such Motor City heavyweights as Norman Whitfield and Eddie Kendricks. Later the group will be courted by West Coast legends War, and in years to come the Merda praises will be sung by a choir of hipsters including Julian Cope, the Beastie Boys, DJ Z-Trip and Peanut Butter Wolf.
Merda’s musical fusion was unlike what was coming out of the African-American musical community at the time. Doing the “freaked-out thing” (as Veasey puts it now), the four men of Black Merda were acutely aware of being a breed apart from their Motor City (and national) peers.
“What we were doing was very different,” Veasey says. “These other [black] groups were kind of going into funk-rock then they switched to playing funk-dance music, but we were into doing psychedelic music. We’d play shows around the Detroit area and we used to do the psychedelic dress before Funkadelic were doing it, when they were still the Parliaments and still dressing like the Temptations. We dressed like that off the stage as well. Our dress, those clothes, we used to live like that every day.”
Laughing, Veasey adds, “We were young, fairly good-looking guys with these big Afros — and we were good.”
Ellington “Fugi” Jordan, a Merda friend and collaborator, says the band’s style came down to two words. “Black Merda considered the music they were playing a form of ‘black rock,’” he says. “I asked Veasey one day, ‘Veasey, why do you call it black rock?’ VC is a very straightforward guy, and he just said, ‘Because that’s what it is. We’re black and we’re playing rock!’”
Black rock: Author/deejay Rickey Vincent, in the chapter titled “Black Rock: Givin’ It Back” from his 1996 treatise Funk, correctly notes how rock ’n’ roll, despite being pioneered by Chuck Berry, Bo Diddley and Little Richard, had essentially become a white phenomenon by the early ’60s. With the eventual ascent of the hippie counterculture, however, intermingling of black and white styles was inevitable, and he cites in particular the hybrid music of Jimi Hendrix and Sly & The Family Stone as integral to the cross-pollination. Vincent writes, “Uprooting racial (and musical) stereotypes with each new release, Jimi and Sly utilized the freedom inherent in rock and roll to expose thriving new visions of society — visions induced by the social revolution of the black man in America and articulated by these black men.”
Je laisse le suspense entier... Pour lire la suite c'est ici :
http://www.metrotimes.com/editorial/story.asp?id=7042
EDIT4
Le site du groupe actuel :
http://www.blackmerda.com/
Posté le: Jeu Oct 06, 2005 10:03 pm
EDIT5
Parce que oui, ils tournent encore de nos jours les bougres !
Petite discussion en février dernier sur le forum de SOUL STRUT :
http://soulstrut.com/ubbthreads/showfla ... Post294572
- Dj-Groover
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Voilà un groupe que je découvre ici ...je trouve tous les titres en écoute sur leur site intéressants, parfois proche de War , de Mandrill, de surtout Jimmy ...si je peux pecho leur Lps je le ferais sans hésitation
http://www.myspace.com/dilouya/music/so ... l-71161196
http://www.qobuz.com/album/nothing-for- ... 9027000222
"RELEASE IT! " "comme un seul homme, comme une seule femme...BAD ON IT"!!! Fonktzar :
http://www.playlive.fm/ecover/rozoff/
http://www.qobuz.com/album/nothing-for- ... 9027000222
"RELEASE IT! " "comme un seul homme, comme une seule femme...BAD ON IT"!!! Fonktzar :
http://www.playlive.fm/ecover/rozoff/
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- Wonder B
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100% d'accord avec toi ITJG... Black Merda c'est un peu de la... enfin je me comprend LOOOOOL
Modifié en dernier par Wonder B le 05/01/07 00:44, modifié 1 fois.
Wonder B
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BLACK MERDA - Ca cote combien ?
Est-ce que vous pouvez m'indiquer la cotation du premier pressage français de ce lp de Black Merda? Je l'ai, c'est pour ça que je demande.
La référence c'est chess 569 517.
La référence c'est chess 569 517.
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