Backtracking Forward: Wanted On Wax VIII
posted in: Features
Faithful followers of “Backtracking Forward” know that I have a soft spot for the beautiful sounds of funk, soul, reggae and jazz music. Throw in a little afro-beat, hip hop, dub and lounge and I might as well be a dog whose belly is being rubbed in all the right places. So to find an artist whose musical aspirations fit the mold of my musical devotions is a match made in heaven. Unlike any artist I have uncovered on this site, Bad Bugalu is the reigning master of the groove. Or in his case, Il est le maí®tre du sillon. And just for kicks, Er ist der Meister der Rinne. No matter what language is spoken, Bad Bugalu’s groove is universal”guaranteed to attract the attention of any listener whose aural cavities are keen on funky drums, jazzy moods, dubby effects and a whole lotta soul.
Similar to many artists who utilize computers to construct music, Bad Bugalu loops, layers and builds his tracks with the help of today’s technology. But unlike so many of those who have come before him, Bugalu is the sole musician of all instruments represented on his recordings. All the big and little strings, percussion and keyboards on the tracks come from this mastermind’s soul yet he has a symbiotic relationship with machines. T hey help this one man operation achieve tremendous results without the aid of other players.
From the opening blast of horns and drums on the uplifting Tito Puente Black Brother Rmx to the supreme blending of jazzy vocals and an almost bluesy guitar on L.O.V.E., Bad Bugalu excels at creating distinct moods with his music. Whether the scene calls for something chill, loungy, or pounds of raw gut bucket funk and soul, this skilled craftsman from France emerges with the right ingredients. The groove master reveals his strongest influence though on the sweat-soaked track Bobs Speakin, where the blending of afro-beat and latin create a noxious concoction of danceable rhythm. The nod to the almighty Fela Kuti on this song is undeniable as the drums take the foreground with a quick and choppy guitar playing alongside the drawn-out sounds from a tickled organ.
Searching for that perfect jazz groove to whet your Prestige, Blue Note and Impulse appetite? Bad Bugalu takes the beat down a notch with Le Mann. and Jackie’s Love & Hate” two chilled-out instrumental cuts that showcase his own blend of contemporary electronica and old school jazz performance. Dig a little deeper and you will discover the dreamy soundscape created for When Stanley Met Herbie” as he drops a nod jazz legends from decades past.
Just when you thought there couldn’t possibly be more grooves up his sleeve, this musician breaks out his title track, Le Bad Bugalu. Utilizing those indecipherable female vocals on top of a raw and gritty filter for the recording, this cut stands out as the ultimate laid back hazy summer lounge soundtrack. On the surface, its uncluttered simplicity makes it remarkable yet peeking beneath the covers reveals drops of latin, dub and soul with a twist of electronic lounge that could stay looping for days.
These cuts represent just the tip of the record needle in terms of Bugalu’s selection of material. The rest of his OurStage profile features more groove-based numbers that captivate the listener via mp3 technology but would obviously be enhanced by a vinyl pressing. Although the full beauty of analog sound is revealed when playing a pristine record, sometimes the snap, crackle and pops add a whole new element and depth to a recording. In the case of Bad Bugalu, sign me up for two vinyl copies” one to keep minty fresh and the other to play endlessly for years, adding my own needle abrasions in all the right places.
Keep Digging!