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Deepfunk / soul super rarity flipped with one of the best deep soul sides ever recorded, the family had some great images so we opted for a picture sleeve on this one, 400 copies only. forget about finding an O.G. Researched by our man, Brian Sears
Papa Bear And His Cubs were the brainchild of Eddie Disnute Sr., aka Papa Bear. A native resident of Hampton, Arkansas. Eddie started his music career in gospel then transitioned into secular music after moving to Milwaukee, Wisconsin in 1963. While living in Milwaukee with his wife and children, Eddie played with a group called the Fenders but eventually decided to start a group of his own with his kids aptly named Papa Bear And His Cubs.
Eddie Sr., a naturally gifted musician, taught his children how to play music. Creativity is a part of the Disnute DNA and before long Eddie's cubs were perfecting chops of their own. Papa Bear And His Cubs started performing together around the late 1960s. Although a few memorable gigs came their way, Wisconsin proved to be too cold for the Disnutes so they made their way back to Hampton, Arkansas.
The family continued to perform in Arkansas then made another move to Houston, Texas where they hoped to break into the music scene down south. They lived there for nearly three years and even recorded at SugarHill Studios, yet nothing materialized and the recordings remain a mystery to this day. For their final move, the Disnutes returned home to Hampton after Eddie's wife Christine (aka Mother Goose) received word that her father was ill.
In 1975 the group recorded their only vinyl record at Sam Griffith's home recording studio in Camden, Arkansas. Disnute Sr. recalls it only taking "one night, and one take" for both "Sweetest Thing On This Side Of Heaven" and "You're So Fine” to be born. Both songs have an entrancing quality that is inescapable and will surely resonate with listeners for years to come.
The group continued to perform until the early 1980s, at which point the cubs were bears themselves, who decided to go their own separate ways. When thinking back to their prime days, one thing will always remain clear in Eddie Sr.'s memory, "we could play, all it took was a countdown of 1, 2 ,3, 4 and we’re gone”.
supported by 31 fans who also own “You're so Fine”
these minimalistic drums (and yet super creative and full of polyrythms) combined with catchy basslines and Idris Rahman's extraordinary play make this ep just unique and perfect - highly recommended StrangeFlow
supported by 30 fans who also own “You're so Fine”
Though it the period of my very fondly remembered first love, who dumped me after some wonderful years, I recall, with the unforgettable line: "You can't keep me in the way I've become accustomed to being kept!"; and though it was the period that led me out of the drudgery of the butcher's shop and countless dead-end jobs and into a more liberating and creative world, the Eighties are far from being my favourite period musically, and certainly not fashion
It would be the odd indie track from back then I might listen to today, or some avant-garde classical. Which was about all I did listen to in the latter half of that decade.So I was surprised to find that this record was originally released in that vulgar and musically frivolous period: the one of bright coloured suits with power-shoulders, billowing cravats, permed and pouffy hairdos, buccaneer wear, neon headbands and legwarmers, and everyone clutching a cocktail in one hand, a Filofax in the other, whilst pretending to step off Simon Le Bon's yacht!
My favoured periods for nostalgia purposes, and for retro-music, are the Sixties and Seventies; periods I lived through, both as a child, and, later, as an occasionally deliquent teenager (er...appologies to all concerned!).
This album wasn't exactly mainstream and was largely rejected at the time, so that gives me some comfort for having bought it, as does my feeling that it is more the boogie-funk Seventies sounding elements of the music that led me to it, and, of course, the Africa connection.
I like a lot of music from the two decades I mentioned because it retains an element of rawness and character about it that is often killed by producers today. Thankfully, Shadow and his musicians are doing the bulk of the work on Sweet Sweet Dreams, not the technology.That said, I've never been a huge fan of automated claps, or of most of the other keyboard sounds on disco, though here I find it passess in an inoffensive jolly way, and that's probably another reason I gravitated towards it.
Shadow's voice has an endearingly frail, fragile quality to it, similar to that of Murphy Williams on the recently re-released, She Is My Woman, which is a charming album itself, though it does have a somewhat dubious image on the cover of Williams staring out, with a rather furtive and posessive look, from between a Yucca plant and a woman who may just be the lucky one in question! (Let me know what you think!).
This is a fun album for a hot night with balloons, dancing around the BBQ, I'd say. And for the vinyl loving fetishist, there's also the bonus of the very cool poster of the man himself. nicholas hamnett