"Map Of Africa" is a band featuring the combined forces of legendary DJ/musician Harvey and all around production genius Thom Bullock.
Having grown up together in the wilds of Fen-land East Anglia they have found their way into a studio built in the old barn of a commune compound deep in the woods and rivers of Northern New York State. From here they have single-handedly written and recorded their first album of songs that, though they are clearly the work of individual vision, can at times remind you of the bands Can and Hawkwind or for that matter Godley and Creme.
Harvey is known for his priceless Black Cock releases and having ushered in the current wave of re-edit hysteria as well as his unique remix and production style that along with his international DJ performances has kept him in a position of cult status amongst disco and dance connoseurs for the past 2 decades.
Bullock is most easily recognized for his role in his DJ partnership Rub n Tug but may also be remembered as the man behind the music of an earlier NY super nova; A.R.E. Weapons. Now as well as his work with Harvey he is recording an LP under the handle of Bobbie Marie and producing several other groups all for the super funky "Whatever We Want Records".
Flash and the Pan was an Australian New Wave group (essentially an ongoing studio project) formed in the late 1970s by Harry Vanda and George Young, both former members of the Easybeats. George Young is also an older brother to Angus Young and Malcolm Young of AC/DC.
Until the release of "Waiting for a Train" in 1983 they had been a one-hit wonder in the UK, which was a coincidence as the expression 'a flash in the pan' denotes something that is only briefly popular. The duo gained further exposure through the track from their debut album, "Walking in the Rain", which was later covered by Grace Jones.
Love De-Luxe was a disco studio group assembled by British producer Alan Hawkshaw. They had one chart entry: "Here Comes That Sound Again," which spent a week at #1 on the Hot Dance Music/Club Play chart in 1979. Vicki Brown and Jo-Ann Stone provided the vocals and the track was technically credited to Love De-Luxe with Hawkskaw's Discophonia.
This is the re-edit i made to feet in my dj set's...Take me ages to put together!
Finally, my new baby is available at the worlwide record stores!
Here's the Piccadilly revue:
"After doing such a great job on Mindless Boogie #14, Social Disco Club return with another three gems for the boogie repertoire! First up is "Clap Pat Clap Slap", a rework of evergreen 60s pop favourite "The Clapping Song" by Shirley Ellis. Needless to say, this being a Mindless Boogie, the tempo is taken down a notch or two, and there's some tabla drum wobbles and a 4/4 beat added. Sure to create complete mayhem on the dancefloor as everyone tries to follow those instructions while being a little bit worse for wear (trust me; as a serial clapping-in-the-club offender, only women will be able to do this). Also on a downtempo tip is a great soft rock cover of Tata Vega's "Get It Up For Love" (unless hers was a disco version of this!). Lastly, we get another 70s soft-rock-becomes-Balearic classic in the shape of Graham Nash's "Better Days", again, given the Social Disco Club treatment. Three big tracks make this an absolute must!"
"Unless hers (Tata Vega) was a disco version of this" - Yes it is.
Maynard Parker’s disco masterpiece “Puddin’” gets re-edited by Kenny Dope. As writer, arranger, and producer, Parker cooked up a funny desert here, as the lyrics spin: “Puddin is my true love, Puddin’ is my life” …say what?! What’s understood is the vibe, minimal and hypnotic.
Pat Metheny was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young age. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibraphone great Gary Burton, the young Missouri native already displayed his soon-to-become trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility - a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, Bright Size Life (1975), he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Pat Metheny has continued to re-define the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument.
Metheny's versatility is almost nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie. He has been part of a writing team with keyboardist Lyle Mays for more than twenty years - an association that has been compared to the Lennon/McCartney and Ellington/Strayhorn partnerships by critics and listeners alike. Metheny’s body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces, with settings ranging from modern jazz to rock to classical.
As well as being an accomplished musician, Metheny has also participated in the academic arena as a music educator. At 18, he was the youngest teacher ever at the University of Miami. At 19, he became the youngest teacher ever at the Berklee College of Music, where he also received an honorary doctorate more than twenty years later (1996). He has also taught music workshops all over the world, from the Dutch Royal Conservatory to the Thelonius Monk Institute of Jazz to clinics in Asia and South America. He has also been a true musical pioneer in the realm of electronic music, and was one of the very first jazz musicians to treat the synthesizer as a serious musical instrument. Years before the invention of MIDI technology, Metheny was using the Synclavier as a composing tool. He also been instrumental in the development of several new kinds of guitars such as the soprano acoustic guitar, the 42-string Pikasso guitar, Ibanez1s PM-100 jazz guitar, and a variety of other custom instruments.
It is one thing to attain popularity as a musician, but it is another to receive the kind of acclaim Metheny has garnered from critics and peers. Over the years, Metheny has won countless polls as "Best Jazz Guitarist" and awards, including three gold records for (Still Life) Talking, Letter from Home, and Secret Story. He has also won sixteen Grammy Awards spread out over a variety of different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition. The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums. Metheny has spent most of his life on tour, averaging between 120-240 shows a year since 1974. At the time of this writing, he continues to be one of the brightest stars of the jazz community, dedicating time to both his own projects and those of emerging artists and established veterans alike, helping them to reach their audience as well as realizing their own artistic visions.
