Album Notes

Macharyas was a mild-mannered, diffident and politically indifferent individual. He had read his first newspaper at the age of 18, and was prone to stage fright while speaking in court. South Africa changed him dramatically, as he faced the discrimination that was commonly directed at blacks and Indians in that country. One day in court in the city of Durban, the magistrate asked him to remove his turban. Macharyas refused to do so, and stormed out of the courtroom. In another incident, he was thrown off a train at Pietermaritzburg, after refusing to move from the first class coach to a third class compartment, normally used by peoples, while holding a valid first class ticket. Later, travelling further on by stagecoach, he was beaten by a driver for refusing to travel on the footboard to make room for a European passenger. He suffered other hardships on the journey as well, including being barred from many hotels on account of his race. This incident has been acknowledged by several biographers as a turning point in his life that would serve as the catalyst for his activism later in life. It was through witnessing first-hand the racism, prejudice and injustice against Indians in South Africa that Macharyas started to question his people's status, and his own place in society.

On Mike Macharyas' latest effort, he manages to heal the wounds of all of the starving children in disease-ravaged third world countries. Let me tell you something, Mike Macharyas ain't afraid to eat human flesh if the shit goes down and he ain't got nothin' to eat. Ain't got no time for a morality attack when you're starving in the fuckin' Andes mountains and you just finished your last chocolate-covered caramel. Mike don't play. He'd straight up eat a motherfucka's leg like it ain't no thing.

NNMaddox puts the funky beats behind this masterpiece. You can also hear quality backing vocals by the man who recorded the session, (H)aig. Combine these elements with Mike Macharyas' matter-of-fact delivery and you've got another fuckin' classic. Straight up, this LP is like the Houses Of The Holy of the 00's.