MOG

Spurred on by Kate's Post about Osibisa and being late for Sunday covers, I have this Mandrill/Don Byron offering.

The record biz is very much ruled by theivery, copying, and a dearth of original thought. The movie biz is similar, too. If a fish-out-of-water buddy movie makes 100 Million. you can be sure each studio head will be asking their underlings, to get them one of those. We, the consumer, get hit with a wave of the same movie for a season or 2, 'til the next hot trend comes along.

In music, there are myriad examples, with Seattle music of the '90's at the forefront, as an example of the zeal with which major labels attempt to bandwagon jump the hotness.

This doesn't necessarily mean bad bands are signed, but it is funny to see record weasels scampering around looking for buzz. Whether they're looking in Iceland for the latest drone, on Chicago buses for the next Wesley Willis,or seeking out the Great Latino Hope Rock band in Mexico City, the trail of pulled-out, graying soul patch hair, and Starbuck's (Man I couldn't find an indie coffee shop, they might say) breath is never far behind. Still, despite all this, bands are found, and many trends and sounds have merit.

In the early 70's there was a trend toward the exotic. A huge migration of Caribbean and African musicians was occuring to England,France and the US, and as these folks began to bring their influence on the local rockers, fusions started to happen.

Along the lines of the indie cred a band like Antibalas has today, bands like Osibisa, Cymande, Lafayette Afro-Rock Band, Catalyst, and Mandrill got a lot of attention from major label folks who saw them playing out in the clubs where rockers dwelled, and along with their Jamaican expatriates, Afro and Carib-centric bands began to be signed in droves.

The sounds were all a little different, but for the first time in the rock era large bands with mostly black musicians were getting signed. This enlightenment honeymoon lasted maybe 7 years, but there was some great music.

Mandrill came on the scene in '72, so they were almost there at the beginning, and they brought a whole lot to the table..heavy guitars, latin sounds, a full brass section, tons of percussion, and funk to burn.

Black Rock Coalition member, clarinet/sax player, jazz iconoclast Don Byron picked up on the vibe and influence of this time when he cut the 1998 Nu Blaxploitation record, where he covered 2 Mandrill tunes. (See his take of Fencewalk in comments)

There was something really cool going on in the early 70's and many of these records are worth your time and have a lot more going for them than funky grooves. Conscious lyrics, quality musicianship, unique fusions, and explorations were the order of the day, and despite all that (if I wasn't so cynical I'd say because), major record companies were releasing this stuff. Sure enough, hip-hoppers, art rockers, and jazz players have been listening, and I can only hope that 7 year golden age was just the beginning. Now we just need to get music back in our schools!