My Funky (In)Disposition´╗┐

The LF soul music blog run by music-mad Imran Mirza, in conjunction
with his Starpoint Radio show, 'The Blue-in-Green Sessions'.


Pitch & Scratch+


Thanks for those that have been responding to Liberation Frequency's recently unveiled Pitch & Scratch feature, you can read by clicking here.

Pitch & Scratch's 'Together' album is genuinely one of the most exciting releases this year so I really hope it'll be embraced by fans new and old, as much as we've embraced it here.  As always, the My Funky (In)Disposition blog has treats to spare, so here's the bonus from that article exclusive to readers of this blog:

LIBERATION FREQUENCY: How did the two of you come together to form Pitch & Scratch?
MZUZU: We knew each other from school – Suro was already DJing while I was playing cello and guitar. Since then we have both had our own experiences in music. We really started making music together when Suro joined our funk band, Superbad!. Since then we made music both live and in the studio.
Our first release was called ‘Music’, a track we produced for Felonious, a rap group from California. Loco Dante was the third composer and producer of this track and we called ourselves Whatmindzdo. When Dante left Hamburg to go to Spain, Suro and I started to produce our music as Pitch & Scratch.
SURO: I built up the Freiland-Studio with a friend of mine in 2004.  Later it came to the point where Julian and I took the studio in our own hands and found out we shared many interests in music. We already knew each other well from playing in Superbad! and it was obvious that funk was the music which connected us the most. Soon we started working on our first album.

LIBERATION FREQUENCY: Can you tell us a little about some of the other collaborations on the album?
SURO: I love making music with great artists, whether they are friends or new connections. Lack Of Afro, who already did a remix of ‘Everybody Move’ from our first album, was spinning at a party in Hamburg in 2011, where I was DJing as well. The location was in the area of our studio, so after the sound check, I showed him some work Julian and I did for ‘Together’ and he asked me if he could add some percussion to ‘Papa Never Was A Genius’. So I started recording and the track got pimped out by him with a nice LOA feeling.
With the Boxhorns, I had worked together on some live gigs. When I showed Mat, the saxophone player some of our music, he liked it and I invited him to the studio and recorded some tracks with him. I knew a sax solo would be good for ‘Get Down’. On some other tracks he jammed to the instrumental. Then he picked another song to take home with him, which came out to be ‘Maculele’. I already had an idea of the melody of the horns and he worked it out and recorded it with the fantastic Boxhorns.
MZUZU: There are many beautiful people involved in this album. All the super horn sections from Hamburg! There are many funky people in Hamburg we have known for a long time. All the great moments we shared with these musicians made it possible to produce this album.


11 Songs... #3

It was a Sunday, 25th October 2009 and I was with a couple of friends in East London's Brick Lane - one of which was Liberation Frequency's very own, Dan Collacott, funnily enough.

This day was actually one just after my birthday, but being someone who isn't a fan of their birthdays at all anymore, I didn't actually tell them.  Probably should have told them as they would've paid for my dinner, haha.

Anyway, we're walking around Backyard market stall and slowly this incredible bossa nova song starts making its way into my ears - there's this brilliant female vocalist:

"New Morning... ba ba ba; New Morning... ba ba ba;"

I make my way over to the stall - which is an amazing stall by the way and oh-so-worthy of a big up (the stall is called Reclaiming The Soul and is open every Sunday - it's been a while since I was last there so I really hope they're still going strong!).  I see CDs by Jazzanova and Domu and I ask what they're currently playing.  The guy hands me a copy of Sabrina Malheiros' 'New Morning' album, the deluxe reissue which followed the year after the album's original release, featuring the Nicola Conte remix of the title track, which is what's blessing the speakers.

Sabrina Malheiros is the daughter of Alex Malheiros, one-third of the legendary Brazilian jazz-funk group, Azymuth... Y'see, that's the first of several facts that I can throw at you as a result of hearing this song.  The specific reason this song has made the list is to credit it for everything it opened the door to me to afterwards.  I'm a bit of an inlay card-raider so I always trawl through the production credits of an album and if it's a release from a record label I'm unfamiliar with, I browse their catalogues too, so as a result of "New Morning... ba ba ba; New Morning... ba ba ba;", in some way shape or form, it's led me to including the following albums as a part of my collection:

New Morning [deluxe edition], Sabrina Malheiros
Vibrasons, Sabrina Malheiros
Other Directions, Nicola Conte
Modern Sound of Nicola Conte, Nicola Conte
Love and Revolution, Nicola Conte
Rhythm is What Makes Jazz Jazz, The Bahama Soul Club
Modern Sounds From Italy, v/a
Anatomy of Groove, Brazilian Groove Band
Clementine Sun, Khari Cabral Simmons
...amongst many others

Sample 'New Morning' here.

11 Songs... #1

11 Songs... #2



I think it’s been a while since I hooked you guys up with any freebies, and I have a trio of gems to put you on to today from an artist I’ve been carrying a torch for for some time now!

Tweet, who was first introduced to us via her debut Timbaland-produced single, ‘Oops (Oh My)’ – the song she would describe as being about ‘self love’ although consistently denying it was about the physical act of ‘self love’  (even though it oh-so-obviously-was) – has been in the depths of label limbo over the past five or six years.  ‘Southern Hummingbird’ was released in 2002 with the aforementioned single kicking things off, and actually being a bit misleading in terms of the music you can expect from her album.  ‘Oops’ and follow-up single, ‘Boogie Tonight’, gave the strong indication that ‘Southern Hummingbird’ was a commercial and club-friendly record, but it was actually a mature and grown-up rnb release, and it’s a shame that people may have missed out on songs like ‘My Place’, ‘Complain’ and ‘Beautiful’, which were intimate and warmly affectionate, sweet rnb-soul songs.

Having come up from DeVante’s 90s collective, Da Bassment and Swing Mob, along with Timbaland, Missy Elliot, Ginuwine and Playa, their support and heavy involvement was self-explanatory, but it was good to see Tweet stand more firmly on her own with her sophomore effort in 2005, ‘It’s Me Again’.  The music continued in much the same vein as its predecessor, with far less club-friendly songs, in favour of further brilliance in the form of ‘Iceberg’, ‘I’m Done’ and the sounds-like-it-wouldn’t-work-in-a-million-years sampling of the theme song to US sitcom , ‘Taxi’, which is looooooovvveeellly.

What happened after that is a little beyond me though.  I do believe ‘It’s Me Again’ may have under-performed sales wise, and there have been a number of stop-starts in terms of new material being released – singles have surfaced but perhaps haven’t picked up in the way they were hoped to. 

There is some excellent news though…  2012 sees Tweet taking the proverbial bull by the proverbial horns and releasing music by herself for free.  Songs are available to download from the link below so grab them while they’re fresh as it seems more are on the way…!  Fingers crossed for a full-length album on the way soon!!

About that 'Cab Ride' I was talking about earlier too...


The Impellers 2.0

We've received a really positive response to our latest feature from brand new Legere artists, The Impellers, in support of their sophomore album, 'This Is Not A Drill', so a massive thank you to the group's lead vocalist, Clair Witcher for taking the time out to talk with us.

We have a couple of treats for our good readers in this post - not only did we keep that little bit back from our one-to-one with Clair for the usual MF(I)D exclusive, but we've also provided a link to a live video of The Impellers performing their much-talked about cover of The Ting Tings' 'That's Not My Name', which as discussed in the feature, appears on the group's album.

LIBERATION FREQUENCY: Where did the name come from?

CLAIR WITCHER: As I mentioned, we were called Ed Meme & The Forms, but when we signed to Freestyle Records for ‘Robot Legs’ we were asked by the label to adopt a much easier, punchier name. To be fair, it sort of had to happen as everyone was pronouncing ‘meme’ incorrectly, Craig Charles always called us ‘Ed Me Me & The Forms’! So we put it out to the band to try and come up with something... it took weeks! Eventually we came up with a short list and on there was a suggestion from our then bass player, Don, who had just started an apprenticeship as a marine engineer. He'd been playing around with a boat engine and seen an ‘impeller’ and thought it was a cool-sounding word so put it forward. We really liked the word and it's meaning so it stuck, we've been The Impellers ever since. Thanks Don!

Be sure to check these guys out.  And, as far as covers go... this one's pretty genius!



Introducing Melanie Charles & The Journey

As if we couldn’t already hurl enough praise on to Nicola Conte’s a-m-a-z-i-n-g album, ‘Love and Revolution’, as being the finest album of last year – it’s also gone on to put us on to brand new vocalists including Gregory Porter, Nailah Porter (no relation to the aforementioned Gregory) and, as of a week ago, we’re now bumping the brilliant release from Melanie Charles & The Journey. 

It’s a little embarrassing that it’s taken me so long to think to type her name into Google to see what I could find from her – more so because she features on two of the absolute best songs from the Nicola Conte album, including the title track itself, ‘Love and Revolution’, as well as ‘The Mystery of You’.  Even though I’m glad to finally locate music from this talent, I’m still perplexed that her album with The Journey has actually been out since January 2011(?). 

Now the bad news, friends, ‘Introducing Melanie Charles & The Journey’ is only available as a digital-only purchase (available at both Amazon and iTunes) so no CDs or vinyl unfortunately, but don’t let that put you off as this 10-track gem is a gem nonetheless.  The Journey are as much the stars on this release as Charles – her vibrant and fresh-faced vocal has found a fantastic home with her accompanying musicians whose refreshing blend of jazz with contemporary soul and rnb is equally effervescent and delightful, particularly evident on ‘My Love’, ‘One in a Million’ and, for me, the album’s highlight, ‘Unfamiliar’.  Albeit, criminally short… really, really short actually… of the ten numbers on the album, only six are complete songs with four (although musical) interludes.  (A few choice remixes or alternate takes supplied at the end as bonus tracks would perhaps have made a nice addition?)

‘Introducing Melanie Charles & The Journey’ really is something to get excited about though and we’ll certainly be doing a better job on keeping up with new releases from the group going forward.  Keep checking the blog for more news and keeping up with the show for airplay info.