Dia 22 de Maio a partir das 15hs.
Sinergia (Sindicato dos Eletricitários)
Av. 02, nº 453, Entre Ruas 5 e 6, Centro, Rio Claro
R$ 7,00 (Antecipado) e R$ 12,00 (Na Hora)
Claudinho Black Horse (Piracicaba)
Joel e Zézinho Banda Lã (Limeira)
Kamarão Familia Funk-se (Rio Claro)
Pontos de Vendas
Rio Claro (019)
Nery Black Fashion 3557-9550
Salão de Beleza Atitude 3523-4744
Luanda Cabeleireira 3434-7959
Jr (Pé de Pano) 9275-9235
Sandra Bronx 9281-0485
Orkut: Amigos da Nostalgia
Família Nostalgia (Roquinho e Kamarão)
(019) 3538-1053 (019) 3538-1053
By Doug Gray, Senior Reporter
The Formative Years – Rio’s Black Music Explosion
The name Funk Carioca is taken directly from the musical genre pioneered by James Brown in the mid 1960s after he seized upon Little Richard’s funked up rock n roll, ripping out the horns, upping the bass and creating his signature groove. That and the funk of Rio in the 21st Century have only their name in common, however, as well as an undeniable ability to move a dance floor. Instruments were binned in favor of the 808 drum machine, singers replaced by MCs and samplers. Producers took hold of funk and remixed into something quintessentially Carioca – Baile Funk.
James Brown was an inspirational figure for young black Brazilians and his sound sewed the seeds of modern Funk Carioca, photo by Beate Sandor.
Along with soul music, ‘traditional’ funk was picked up and taken to the hearts of kids in the major cities of Brazil in the 1970s as an entirely new and thrilling sound inaccessible via the predominantly white, middle class-controlled media, though only a handful of DJs lucky enough to be on the receiving end of a trip to the US could actually get their hands on the music. Brown had the moves, the attitude and the clothes to make the kids want to be like him, and his music forced samba down the pecking order in their attentions.
To get hold of the records, fans like DJ Nazz had to call in favors with airline stewardesses, import/export companies, whoever they could find to help fuel the burgeoning desire for this new sound taking over from the traditional Brazilian rhythms. As the rich playboys of Ipanema and Leblon discovered clubbing, so too in the poorer neighborhoods live bands became less and less integral to parties and DJs became increasingly popular.
Unusually in a city of such rich live musical history, the pioneering Bande Black Rio were one of the few domestic purveyors of the 70s funk sound taking the city by storm, a group assembled by Soul Grand Prix from the best musicians around to capitalize on the popularity of the music. By and large, the DJ with his imported records was taking over.
Big Boy LP, image from www.htforum.com.
The likes of Nazz and DJ Big Boy began with home made set-ups and handfuls of tracks by the likes of KC and The Sunshine Band, Kool and The Gang, Average White Band and of course James Brown, and for the people of the north zone and favelas, this burgeoning party scene was the only means of hearing this exciting new form of music.
With rapidly rising popularity these humble beginnings were soon outgrown, and the sound system culture that had begun at the turn of the decade exploded. Like-minded DJs and aspiring promoters began hosting huge block parties, with the MC singing rough Portuguese translations over the original vocals. The sense of belonging for the mostly black audience fueled the Funk parties’ popularity further still, and with a military dictatorship in power and imposing tight censorship over mainstream culture, they became rebellious, untouchable, and, ultimately, highly profitable.
Journalist Silvio Essinger, author of ‘BATIDÃO – Uma História do Funk’, the only comprehensive volume published on the subject of Funk eloquently summarizes the situation;
“The scene got huge and the authorities were becoming worried. There were literally thousands of kids dancing to funk at any of the hundreds of bailes happening every weekend in the poorer neighborhoods of the city. These guys were earning a lot of money, the parties were unregulated, and sound systems like Soul Grand Prix were taking over neighborhoods with literally hundreds of speakers pumping out funk all night long.”
The front cover of one of the early Soul Grand Prix compilations, photo by believekevin/Flickr Creative Commons License.
The money coming into the scene helped it expand quickly and soon DJs were able to take cheap, chartered flights to the US to pick up armfuls of music and bring them back for the baying crowds. “In much the same way as occurred in Jamaica” Silvio continues, “DJs would scratch the names off the records and leave just a reminder as to what they were, keeping other sound systems from stealing tracks and reinforcing the fierce independence of the scene.”
When journalists began to pick up on the new movement, by the end of the 1970s it had become something of a victim of its own success and while Zona Sul’s clubs got busier, the block parties’ popularity waned. The underground taken over, the music no longer so new and exciting, they had seemingly run its course.
New tracks like Sugarhill Gang’s “Rappers Delight” (1979) may have hinted at what the future would hold by introducing rapping as a progression of emceeing, but with the arrival of Disco the whole movement became more mainstream, and the interest shown by the middle class took it into new and, for the purists, unwelcome realms; the radio, onto television – even beginning a daily novela (soap opera) with the black music bailes as the recurring theme.
Fortunately for those seeking the next new sound, in 1982 a track was released that would change the face of black music in Rio for good. Years of lovingly crafted imitation and enjoyment of the sound of 1970s black America would rapidly take on its very own persona.
With thanks to Silvio Essinger.
The UK’s premier funk band started out as a quartet gigging in small clubs in the Southeast of England in 1999, playing classic funk tunes by artists such as The Meters and The JB’s. The band soon expanded, adding the now renowned horn section (The Rev Horns) and vocalists (The Speedettes) in 2001, which has enabled them to deliver the powerhouse deep funk sound they’re known for today.
In 2000, the first single was released “Soul Safari” on Soul Fire Records and soon followed several other releases by other labels. Each of the limited run 45 singles sold out to a rapidly growing funk audience. Three years later the band joined forces with Blow it Hard Records to record the first Speedometer LP. THIS IS SPEEDOMETER (VOL.I) which blended their love of heavy deep funk with Soul and fused this with Latin grooves that gave the eagerly awaiting funk fans and DJ’s one of the best new authentic funk albums since the 1970′s.
2005 saw the follow up album “THIS IS SPEEDOMETER (VOL. 2)”.This second volume proved the bands credentials in delivering unrivalled heavyweight funk grooves and super-soul vocals from soul diva Ria Currie and the Speedettes. The funky re-work of Beyonce’s “Work it out” has been one of the most successful new funk 45′s to date and in the top 10 of most funk/soul DJ’s around the globe. The album also led them to Japan for a fantastic sellout tour playing 8 shows in Nagoya & Osaka. Check out ‘Speedometer live in Japan’ video on u tube. Just type Speedometer funk into the search box.
2006 saw Freestyle Records in the UK release “Diggin Deeper”. A compilation of all of Speedometer’s early 7″ 45 releases in one place on CD for the very first time. It also saw them back in Big Noise Studios to start laying tracks for the next album “4 Flights Up” due out in early 2007 on Freestyle Records. Over the years, Speedometer has worked with many of the US funk legends including Sir Joe Quarterman, Eddie Bo, Marva Whitney, Sharon Jones, James Bell (The Highlighters), Lee Fields, Billy Wooten and most recently, gigging and cutting two tracks in the studio with Robert Moore. (To be released soon)All the artists were blown away by Speedometer’s authenticity to the original soul-funk sound The 2007 album “Four Flights Up” is widely regarded as one of the best funk albums of the last 10years. The band will be releasing a live album in March 2009 and start recording their 5th studio album in summer 2009 for release end of the year. The heaviest funk is yet to come…
A banda britânica funk premier começou como um quarteto de gigs em clubes pequenos no sudeste da Inglaterra, em 1999, tocando clássicos do funk músicas de artistas como The Meters e The JB’s. A banda logo se expandiu, acrescentando que a secção de metais agora renomado (The Horns Rev) e vocalistas (O Speedettes) em 2001, o que lhes permitiu entregar a potência de som deep funk são conhecidos hoje.
Em 2000, o primeiro single foi lançado “Alma Safari” na Soul Fire Records e logo seguiram-se vários outros lançamentos por outros selos. Cada um dos 45 tiragem limitada de singles vendidos a um público crescente funk. Três anos depois, a banda juntou forças com a Funda-Hard Records para gravar o primeiro LP do velocímetro. TRATA-SE DE VELOCÍMETRO (vol. I) que o amor de sua mistura deep funk pesado com Alma e fundidos isso com grooves latinos que deu aos fãs que aguardam ansiosamente o funk e um DJ’s das melhores novos álbuns funk autêntico desde a década de 1970.
2005 viu o segundo álbum “THIS IS velocímetro (vol. 2).” Este segundo volume mostrou as credenciais de bandas em entregar inigualável grooves funk pesado e vocais super-alma da alma diva Ria Currie ea Speedettes. O funky re-trabalho de Beyonce “Work it out” foi um dos mais bem sucedidos novo funk 45′s até à data e no top 10 dos mais funk / soul DJ’s ao redor do globo. O álbum também levou para o Japão para uma turnê sellout fantástico jogar oito shows em Nagoya e Osaka. Confira »Velocímetro viver no Japão” vídeo em tubo em U. Apenas funk Velocímetro digita na caixa de pesquisa.
Em 2006, Freestyle Records, no lançamento no Reino Unido “Diggin Deeper”. Uma compilação de todos Velocímetro de 7 cedo “45 lançamentos em um único lugar em CD pela primeira vez. Também viu-los de volta em Big Noise Studios para começar, que estabelece as faixas para o próximo álbum” 4 Flights Up “, lançado em início de 2007, Freestyle Records. Ao longo dos anos, o velocímetro já trabalhou com muitas das lendas do funk EUA, incluindo Sir Joe Quarterman, Eddie Bo, Marva Whitney, Sharon Jones, James Bell (O Highlighters), Campos Lima, Billy Wooten e, mais recentemente, a dar concertos e corte duas faixas em estúdio com Robert Moore. (a ser lançado em breve) Todos os artistas foram desintegradas pela autenticidade do velocímetro para o som original soul-funk Em 2007, o álbum “Quatro voos Up” é amplamente considerado como um dos melhores álbuns de funk a 10 anos atrás. A banda vai lançar um álbum ao vivo em março de 2009 e começar a gravar seu quinto álbum de estúdio no verão de 2009 para o final de lançamento do ano. O funk mais pesado ainda está por vir …
This is Speedometer Vol. 1 (2003)
01 – Monkey Stick
02 – You Know You Can (Just Do It)
03 – Wait Up
04 – Just Keep On (Doin the Do)
05 – Mullet
06 – It’s Our Turn
07 – What Am I Gonna Do
08 – All I Ever Need
09 – Episode in Palmetta
10 – The Best You Can
11 – Growbag
This is Speedometer Vol. 2 (2005)
01 – At the speakeasy
02 – Have you got the message
03 – Dapper dan
04 – Speedtrap
05 – Work it out
06 – You got me started
07 – Foot & mouth
08 – Return to palmetto
09 – Power generation
10 – City strut
11 – Crew cut