Kourosh

By the early 1970s, Iranian artists such as diva Googoosh, her r&b influenced saxophonist and musical director Erik, sitar-funker Abbas Mehrpouya and the angelic tenor Pourain took the stage. Using indigenous instruments and forms and adding electric guitar as well as other Western influences, these artists set a new standard for Middle Eastern pop music. And so did Kourosh Yaghmaei. But Kourosh was of a different sort.

While the aforementioned artists are giants in their own right, Kourosh stands as the godfather of Persian Rock and Psychedelia. Alongside his brothers, the guitarist Kamran and the keyboardist Kambiz, the trio created vocal and musical stylings that bear a striking resemblance to Turkish fuzz-guitar god Erkin Koray. But their tales – such as “Hajme Kahali,” a meditation on loneliness, are uniquely Iranian.

Kourosh’s 7” singles are exceedingly rare. They are all masterful in their cross-cultural melding but they – alongside music Kourosh recorded in the mid-to-late 70s but never officially released – have languished since the Revolution, and are unheard of by those outside of the immediate Iranian diaspora. We at Now-Again Records, alongside Kourosh and his son Kaveh, have corrected this glaring inaccuracy in the world of Psychedelic Funk and Rock music with the Back From The Brink anthology, which we released in August 2011.

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Michael Liggins & The Supersouls

Michael Liggins met “Mighty” Mike Lenaburg in Phoenix, Arizona in 1963. Liggins was cutting his teeth with a band called The Soul Patrol. “We hit it off good. He was young, as was I,” Lenaburg recalls. “He was doing instrumental soul – it wasn’t funk. Not yet.”

Liggins progressed along. By 1966, The Soul Patrol had broken up and Liggins joined the Lenaburg-produced Soulsations. The Soulsations were close kin to Liggins’ later ensemble, The Super Souls. “They were mostly Mexican, except for Mike and Rudy (and Don, on “Loaded to the Gills”), who were black,” Lenaburg states. In 1968 Liggins left The Soulsations and The Super Souls were born.

“Psychedelic music was in at the time. I liked that kind of music,” Lenaburg recalls. “You have to remember, I was in my early twenties and I had a record shop in Phoenix – Melody Records. I listened to all the latest music. Locally, there wasn’t as much of a market for that type of music as we had intially thought. It was out there, so it didn’t really hit. Of course, I was young and really didn’t know what I was doing either. I recorded the band and released their records because I believed in the group. I wasn’t really aware of what was happening, but I liked the sound. We had more of a psychedelic sound than a funk sound. It was funk too, but it was more of a psychedelic thing. We looked up to Sly and The Family Stone and Funkadelic. I was very open-minded.”

In between the two Super Souls sessions (which appear on the Now-Again issued anthology record), Liggins ended up playing saxophone on the We The People songs that Lenaburg later released on Darlene Records. “We needed a B-side, so Sam (leader of We The People) worked with the group and got “Function Underground” together for us,” Lenaburg remembers.

Liggins and Lenaburg recorded a blues song called “Mama’s Baby, Daddy’s Maybe” in 1972. By then, The Super Souls had disbanded. “By 1972 they were disgusted and had just kind of lost interest in music. I continued to manage Michael until 1985,” Lenaburg recalls. “He was very talented, often working for five or six different bands. He then moved to Vegas, where he continued to play for a couple of years, but couldn’t make a living at it. Since he was a union plumber, he had a plumber’s license. So he started working maintenance in hotels in Vegas and finally just lost interest in music.”

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