For some reason, Cape Verde hits well above its weight musically. It could be due to the diverse history and population of the islands, but it has more than one distinctive genre.
I’ve actually covered a song from this compilation before. But there’s so just many amazing tracks!
This is not part of that tradition – but it nevertheless retains a strong Cape Verdean flavour.
This particular brand of Cape Verdean funk is allegedly a result of a shipment of synthesizers washing up on a beach – seriously!
There’s a strong parallel to Cuban music, with a blend of African polyrhythms and Latin instrumentation. Although the influences are different, of course, there is more than a passing family resemblance…
The song is bass driven, with a prominent walking bass jamming along throughout. There’s some excellent guitar work too, accentuating the Latin vibe.
Vocally, the song is rowdy. Not only from his singing, which is great, but from the cacophony of backing vocalist.
The percussion is exquisitely engaging. The bongo rolls glance off the fluid rhythms of the drum kit, in a brilliant showcase of frenetic Cape Verdean style.
The song was released in 1977 on Nos Bida, but re-released by Analog Africa on Space Echo – The Mystery Behind the Cosmic Sound of Cabo Verde Finally Revealed! in 2016.
The original version of this was a soulful 1972 smooth jam by Skylark. It’s a nice enough tune, if a little lacking in energy.
There are no such concerns with Hank Crawford’s 1973 jazz cover. His saxophone soars heroically over a dense thicket of buzzing drums and forceful guitars, with the occasional vocal embellishment, triumphant trumpets, and a little bit of Rhodes riffing thrown in for good measure.
The song has a tremendously colourful presentation, but also excels rhythmically. The slap bass makes good on its initial promise here, pulsing with bursts of energy throughout. The funky feeling created by this gives the song a measure of accessibility – along with the catchy sax lead hook.
It’s a great piece of soul-jazz, drawing out a more exuberant facet of the original.
Hank Crawford’s “Wildflower” was released on Wildflower, a 5 song LP mainly comprising sax driven covers.
The intense folk vibes coming off of this provide a counterpoint to the Electric Light Orchestra-esque catchiness. As the name suggests, the band are from the South, and that Southern Rock heritage shines through here.
The almost falsetto vocals are provided by Larry Lee, the drummer – the first time he had sung lead vocals for the band.
The slightly psychedelic feeling of the song is down in large part to the wah-ing electric piano, and the reverb heavy guitar. Both of these add a nice emphasis to the song, which remains relaxed even as the pace picks up.
The song was originally about a drug dealer, but was changed to be about a shy girl who never leaves her room. It would’ve been a very different song otherwise…
The song was released in 1975, a single from the album It’ll Shine When It Shines.
The Manhattans are a R’n’B group who mainly operated from the early 60s to the late 80s – a good run, especially as their original lead singer died in 1970. Many of the original members have died in the last few years too, of mainly age related causes.
Their music though, is eternal. Some of the greatest R’n’B and soul classics of the 20th century are by them, with a few big hits recorded by the band.
“I Wish That You Were Mine” is about two people having an affair with each other, with their partners none the wise. The song is set in a bar, where the two are meeting secretly.
The song is classic, dusky vocal driven R’n’B, slow and powerful. The backing vocals have a gospel quality to them, adding a dreamy air. The instrumental has a sparse guitar lick, a tasteful glockenspiel and a ethereal trumpet.
The song came out in 1973, on There’s No Me Without You.
Tom Waits makes incredibly depressing music, for the most part. That doesn’t mean, however, that it isn’t astoundingly beautiful.
His own distinctive, crusty tones sound like they’ve been doused with cheap whiskey and cigar smoke for a decade or 3. The whiskey comparisons come out a lot with critics, although some content themselves with the rather less dramatic “gravelly” adjective.
His tremulous, breathless singing voice is the counterpart to a melodious and sweet guitar here, which plays a sugary little jazz part.
The lyrics are intensely poetic, tinged with a liberal splash of darkness. They speak less to forlorn heartbreak as to bitter regret. As is common with Tom Waits lyrics, the subject matter is gritty, dealing with the sort of outcast who has no romance in them. In other words, real outcasts who get trodden down and ignored by society.
The song is the title track of the brilliant Blue Valentine album, which came out in 1978.
The Cramps were easily one of the biggest pioneers to come out the punk scene. Not only within punk itself, but for the darker, morbid direction they took it. Eventually, this culminated in the wacky and creepy psychobilly scene.
The Cramps certainly have real punk pedigree. They were one of the bands playing at the CBGB bar in the mid-70s, which is pretty much as punk as you can get.
Naturally, their fashion and music styles are somewhat unorthodox. The thing which distinguishes the Cramps from other punk bands at the time, and the thing which resulted in their attaining cult status as the leaders of psychobilly.
“Human Fly” is a slower track than many contemporaneous punk tunes, but have more than enough grit. The twanging rockabilly guitar sets a sinister tone, playing a very simple riff with a delay and some other effect.
The low end is very muddy. I think it might by a bass guitar played with a lot of distortion, and maybe another guitar on top. It sounds great to me though!
The drums are splashy in sound, but add a relentless thump to the track.
Of course, the lyrics are as weird in content as they are in delivery – there’s a horror theme to proceedings.
The tune came out first in 1978, as a single. You can also find it on the 1979 E.P. Gravest Hits, although it was probably most famous because of the Off The Bone singles compilation album, released in 1983.
How could you listen to this song, knowing that Stevie Wonder played it all himself, and not recognise him as a musical genius?
In fairness, he wrote the song in conjunction with Gary Byrd. That shouldn’t detract from the magic he wrings from just him and his synthesiser…
It’s an intensely powerful ballad, documenting the darkest sides of America’s poorest neighbourhoods – and the way rich people sometimes shrug off the deprivation in their society. The lyrics really don’t hold back at all.
There’s no drum or bass. There’s only a densely layered orchestra of synth strings, played on Stevie’s keyboard. Stevie Wonder’s singing rings out clear over the top, relaying the tragic fate of his community.
“Village Ghetto Land” came out on the legendary Songs In The Key Of Life album in 1976, which is widely recognised as one of the greatest albums ever made.