THE GREAT THEFT OF FUNK
EDDIE PILLAR AND GILLES PETERSON. STOP TRYING TO REWRITE MUSIC.
HISTORY GET OUT OF BLACK MUSIC. GET OUT OF BLACK CULTURE
If you’re an African American some of what you say may not be printable. You’ll probably be nodding your head saying something like “Ah yeah, here we go again”….WELL NO. You can defeat the serpent with the information on this website.
So first of my customary challenge to any so called music writer.
SERPENT SMOKE AND MIRRORS DOES NOT WORK IN MUSIC. YOU CANNOT FOOL AN AUTHENTIC DISCO ERA 1970’S/1980’S FUNKSTER ON THE MUSIC HE GREW UP WITH. THERE NO STYLE OF BLACK MUSIC CALLED ACID JAZZ OR CLUB JAZZ.
They do not exist. And if you are one of these 1990’s/Millennial so called “music writers”, who claims or has ever claimed that these genres exist, then write in the comment section what these genres are. Then tell me the name of a so called “Acid Jazz” track or a “Club Jazz” Track. Don’t tell me that Jamiroquai play this non existent genre either because they don’t. I know what all those sounds are. I have already debunked that satanic myth in THE SOULHEAD TALES.
so go ahead tell me the name of an acid jazz/club Jazz track from this imaginary genre. Exactely what style of Black American Soul did a satanic record Label created here in London in 1987 invent? Better still ask Gilles Peterson………..
This is for Africam American youngsters acquaint yourselves with some of the sounds of your 1960’s, 1970’s, 1980’s and 1990’s Elders which are being re-classified by Eddie Pillar and culturally appropriated as so called “Acid Jazz” from 1980’s London. We AUTHENTIC London Soulhead’s recognise no such genre.
If you’re an African American some of what you say may not be printable. You’ll probably be nodding your head saying something like “Ah yeah, here we go again”.
THERE NO STYLE OF BLACK MUSIC CALLED ACID JAZZ OR CLUB JAZZ. They do not exist AND NO ONE IS
So firstly know that Eddie Pillar Gilles Peterson and Acid Jazz records do NOT speak for Black Britain and neither do they have any claim on any style of Black Music here in the U.K. Or indeed anywhere else. At no time and at no stage was there ever a Black Music genre called Acid Jazz here in London England or anywhere else. Either during the 1980’s or the 1990’s. ASnd yo will find no reference to that lie in any Black Music publication, on any Sooul show be it T.V or Radio No one had even heard of them until the mid 1990’s and that was mostly the kides of the era. No matter what their mates in the synagouge of satan infiltratred wikipedia serpent media, press and other outsiders who know nothing about Black Britain tell you. Know that they cannot give you the name of any so-called acid jazz track that isn’t actually SOUL /R&B.
EDDIE PILLAR is essentially re-categorizing all styles of 20th Century SOUL as so called Acid Jazz. On Wikipedia they are claiming that this so called Acid jazz genre came out of London in the mid 1980’s. No such genre exists. Now if you are in politics, history or medicine for example then you will be aware that the Globalists have taken over Wikipedia and are censoring /removing any information that does not suit the serpent agenda. Acid Jazz records is a serpent organization and as such their lies are being preserved by satanic Gatekeepers on Wikipedia.
WHO IS TELLING YOU THESE SOUNDS ARE CALLED ACID JAZZ FROM LONDON OTHER THAN EDDIE PILLAR AND HIS INTERNATIONAL CABAL OR THEIR WIKIPEDIA GATEKEEPER. A CALIFORNIAN WHO DOESN’T KNOW WHERE ESSEX IS AND CAN’T NAME A SINGLE TRACK WHICH BELONGS TO THIS SO CALLED GENRE?
Above an American called Michael Bink Knowles Gatekeeper for a page of total disinformation which writes Black Britain out of History
BELOW YOU SEE SOME OF THE ANONYMOUS AMERICANS RE-WRITING BLACK BRITISH MUSIC HISTORY ON WIKIPEDIA
LIES-Theft of Black Culture
Black London of the 1980’s being wiped from the history books and replaced by ….Gilles Peterson who apparently invented a Black Music genre called acid jazz which spread to America thanks to Jamiroquai.
There is no such thing as Club Jazz and there is no such thing as acid Jazz.
Exactly who is it on Wikipedia and the internet at large telling you acid jazz is a music genre from London England? Is it us 1970’s/1980’s Funksters from London England? Is it any of our 80’s Funk bands, acts or DJ’s of the 80’s? Is it Black Brits? NO Its OUTSIDERS, South Africans, Swedes, Dutch, Americans, Germans, Eastern Europeans Russians, etc on Wikipedia and on the Internet telling you that 20th SOUL is a music genre called acid jazz. Even though they can’t tell you what it actually is because it doesn’t exist. These people have NOTHING to do with Black Britain or the Soul in the UK. Except that they infiltrated or culture and are now trying to wipe us out of history. Some of these people had never even heard of Soul to Soul or Loose Ends. They are just assuming that they can use all the disinformation tactics of their crowd in the New World Order to pull of the fraud of the Century. Both the 20th and the 21st.
What is acid jazz?
Nothing more than an infiltrator record label making money out of Black music and trying to steal the Energies associated with FUNK . The proverbial satanic wolf in sheep’s clothing. Stealing energy is what these inverted sabbateans frankists do.
What is the acid jazz genre?
It doesn’t exist. It never has. It was not a Genre, a subgenre, a groove, a sound or a style of FUNK. It’s the only music genre in history for which no one can name a single song. It’s nothing more than Cultural Appropriation. The acid jazz “genre” is an International conspiracy by a small group of people from several Countries including the UK the US, Russia, Israel, South African and others backed by insiders in Youtube, Wikipedia, to appropriate 20th Century Black American Soul
100% ACID JAZZ, THIS IS ACID JAZZ, ABSOLUTE ACID JAZZ, THE STORY OF ACID JAZZ. SEE THE WAY THE WORD THINGS!
AUTOSUGGESTION-KEEP REPEATING THE SAME THING UNTIL YOU BELIEVE IT
This is acid jazz…. The story of acid jazz…. Absolute acid jazz… 100% acid jazz… acid jazz classics….acid jazz round the corner…acid jazz in your food…acid jazz invented Stevie Wonder…..acid jazz invented James Brown….acid jazz invented Stevie Wonder…acid jazz invented The Mizzel Brothers….acid Jazz invented British Soul ….Bossa Nova is now known as acid jazz…acid jazz invented Jazz Funk….The African Americans don’t exist…acid jazz invented their sound…. even though we can’t tell you what an acid jazz track is or give you a single example…
What the heck is ABSOLUTE acid jazz when it’s SOUL/R&B
You can almost see their brainstorming sessions round the table and on their whiteboard dreaming up wording to drum into peoples heads the idea that they invented SOUL. All in an effort to disenfranchise the African Americans of their culture. And later on you will see the deep thought that has gone into the tightly packed tissue of lies on their FAKE NEWS WIKIPEDIA PAGE. I seem to recall the great Napoleon Hill also saying something like “make sure the goal of your mastermind group is based on justice or it will crumble.” Robbing a culture of their heritage to make money and then mocking them for doing so is not justice.
Reminder; So fellow Jazz Funkateers of the 60’s/70’s and 80’s or musically educated Funksters. What do you see above? do you see a Jewish music genre called acid jazz invented here in London by a DJ called Gilles Peterson? or do you see compilations featuring the following styles of Black music….
Classic 1950’s and 1960’s Black American Soul/R&B, 1950’s and 1960’s Blue Note Jazz Funk, Doo-wop, 1970’s Jazz-funk, 1960’s/1970’s Jazz Soul, 1980’s Jazz hip-hop & Trip hop, 1980’s Jack and “New” Jack Swing, 1980’s House, Techno, Washington Go Go, Orange County, Minneapolis sound (Prince, the Time, Jesse Johnson, Morris Day, Jimmy Jam and Terry Lewis) 1970’s /1980’s LA (Salsoul), 1970’s Disco era Funk, The Sound of NY Queens, P-Funk, C-Funk, D-Funk, 1970’s Cosmic Funk, 1970’s/1980’s, Punk Funk (Rick James/Stone City band, Mary Jane Girls), Washington Go Go DC, 1960’s/ 1970’s and 1980/s Brit Funk, 1970’s Sophista-Funk, 1970’s /1980’s Electrified Funk, 1970’s and 1980’s Electro, 1990’s Neo Soul, Freestyle and all the other sub genres of Black American Soul including South American Bossa Nova, Salsa, Samba and Calypso aka Latin?
I won’t go into too much detail on all these Funksters and sound makers people as you can do your own research. This is just to highlight some of the many sounds of our era that acid jazz records are trying to culturally appropriate. The soulhead tales classified all Jamiroquai tracks into their correct genres and styles of groove so the acid jazz cultural theft cabal an no longer claim they “invented ” any of these sounds. And of course Jamroquai can no longer claim to have written all the stuff the ripped off either
AUTOSUGGESTION
(keep repeating the same thing over and over again)
NAPOLEON HILL
Styles of Black Music featuring on so called Absolute acid jazz, This is Acid jazz, 100% acid jazz and all the other silly labels they have thought up to try and indoctrinate people into believing they are relevant or are responsible for late 20th Century SOUL are the invention of Gilles Peterson and not the people i have listed below.
Black American Soul,- Black American Jazz Funk Fusion,- NY Queens, Black American 1970’s cosmic synth,- The World sound (Black Latin/African/Soul fusion), Sophista-funk, Gambel and Huff, The Randy Muller sound, the CHIC! organization, Black American New Jack swing, Black American Neo Soul. iN PROGRESS THE NUMBERS MAY CHANGE….
- BLACK AMERICAN SOUL (They claim is called acid jazz)
- The 1960’s MOTOWN Sound-Berry Gordy
- Stevie Wonder
- Curtis Mayfield
- Marvin Gaye
- 1970’s BLACK AMERICAN JAZZ FUNK FUSION (They claim is called acid jazz)
- The Mizzel Brothers sound-(The greatest producers of early 70’s the Jazz Funk)
- The Dizzy & Bird Sound- aka the moody groove updated by Roy Ayers in the 70’s
- Professor Herbie Hancock
- Miles Davis
- Professor Donald Byrd
- Patrice Rushen
- The Laws Family, Hubert, Eloise, Ronnie & Debra.
- NY QUEENS, Tom Browne, Bernard Wright, Don Blackman, Sekou bunch, Marcus Miller and Mile Davis
- THE WORLD SOUND OF THE EARLY 70’s (Soul/Latin/African fusion groove)
- Osibisa
- Mandrill
- Cymande
- THE 1970’s SPACE AGE COSMIC SYNTH
- Worrel, Herbie, Lonnie Liston, Roy Ayers, Greg Phillinganes
- THE SOUND OF GAMBEL AND HUFF(Architects of the Disco era sound)
- THE RANDY MULLER SOUND Brass Construction, BT Express, Raphael Cameron & Skyy.
- The sophistafunk sound (Quincy Jones/The Brothers Johnson, Pleasure, etc.
- The CHIC organuisation. Nile Rogers/Bernard Edwards (Sister Sledge/ Diana Ross)
- NEW JACK SWING
- NEO SOUL
BLACK AMERICAN SOUL
They claim Jamiroquai play acid jazz. Much of Jamiroquai’s sound was straight plagiarised from Stevie. Kay probably stole/ripped more from Stevie than anyone else. Jamiroquai were marketed in the 1990’s and are still being marketed as an acid jazz band so that means that Stevie Wonders sound is also the invention of acid jazz records. And since Kay claims he didn’t use any outside influences…Well Stevie’s sound belongs to him as well as Giles Peterson.
STEVIE WONDER, THE GOLDEN THREAD THAT RUNS THROUGH THE FUNK
Everyone knows who Stevie is but not all understand just how important he is to the FUNK It’s not just the music has written for himself but the music he has written and co produced for others. I’m not going to even try and sum up the achievements of Stevie in a few words as it would be an insult. You can see all the FUNK and SOUL Jay Kay stole from Stevie and still claims that he wrote. Because he thinks no one will know where he stole the music from.
The sound of STEVIE WONDER
No ones had his pocket picked by Jay Kay and Jamiroquai more than Stevie Wonder as you will see from the SOULHEAD TALES.
London pub DJ Gilles Peterson invented Stevie Wonder?!
THE MOTOWN SOUND
The MOTOWN sound was the Black American sound we grew up with in the 1960’s and the early 70’s. Our era (1970’s/1980’s) is based on the MOTOWN SOUND. Despite what those who weren’t there will tell you, we do not speak of 80’s FUNK from Motown records as the Motown sound. The “Motown sound” was in the 1960’s when us disco era kids were still at school.
All the songs coming out of that stable of geniuses and music writers had a particular sound because it was mostly all made in the same studio. You could hear the building and the echo in the background as many artists testified to. That was the MOTOWN SOUND, it wasn’t just that a particular singer or band had signed to the label. So when you hear or see people refering to 1980’s Electrified bands like The Dazz Band as the Motown sound then they don’t know what they are talking about. The MOTOWN sound developed in the 60’s into the Disco sound of the 70’s.
DISCO ERA FUNK IS BASED ON MOTOWN
I’ve seen a number of ridiculous claims, again made by outsiders, regarding the origins of disco. No matter what any outsider tells you Disco Rea FUNK is based on Motown. It is not an invention of the Gay community or anyone else. The Girl bands of our era are based on people like Diana Ross and the Supremes. The boy bands on the people like the Temptations and the Four tops. The Soul singers of our era (70’s/80’s) all site the young Girls of the 60’s and 50’s as their inspiration. Disco era FUNK is based on MOTOWN, Gambel and Huff, the Orchestral Strings of Barry White, Dexter Wansell, Philly and of course the Jazz Funk fusion of people like the Mizzel Brothers. What people refer to as “Disco” is the commercialised sound, pop music imitating the Black Americans. NO matter what anyone tells you.
Marvin Gaye
Marvin was one of the young kids taken on by Berry Gordy of MOTOWN. Like STEVIE I’m not going to go into Marvin’s long and distinguished career because it would take a whole page. You yourself will come to discover his genius and incredible albums. Sufficed to say he entertained us a small kids in the 60’s and we lost him in one of the great tragedies of the 1980’s
He was with us along time and for that at least we can be thankful. listen to his early MOTOWN stuff then compare it to sanctified lady in the 1980’s. Jamiroquai rip off Marvin Gaye on tracks like Black Crow, Virtual Insanity and then take credit for his genius. Then cultural thief Eddie Pillar tells us this sound is called acid jazz.
CURTIS MAYFIELD
Legend Curtis Mayfield was one of the conscious American Brothers of the Era. Years before Grand Master Flash and the furious Five brought out the message Curtis was protesting on his records and writing film scores like the famous Superfly Album.
As you will see from the SOULHEAD TALES, Jamiroquai ripped off the sound of Curtis Mayfield on too young to die and When you gonna learn. Main Vein steals from Randy Muller/BT Express (Whatcha think about that) but part of the groove is Curtis on (Beautiful Brother of Mine). Take a listen yourself then see if you can find where they give him credit on any of their albums. The same goes for all the others you see in the SOULHEAD TALES.
Of course there were hundreds of SOUL singers both Male and Female during the 60’s/70’s/80’s and 90’s. You can trace the origins of 90’s Bands like Boys to Men all the way back to people like Nat King Cole or Little Anthony and the Imperials. Modern Day Female singers all base their sounds on Goddess of SOUL like Ella Fitzgerald and Aretha Franklin. SOUL music comes from Black America. It does not come from a record label based here in London England called acid jazz. They are not responsible for any genre, sub-genre or style of Black music .
You will find the sounds of all these 70’s and 80’s African American Soul singers from Barry White, Geoffrey Osbourne (LTD) from Ronald Isley to Lionel Richie on so called “100% “and “absolute” acid jazz compilations. Ask them to tell you which aspect of Black American SOUL are they responsible for.
BLACK AMERICAN JAZZ FUNK FUSION
BLACK AMERICAN JAZZ FUNK FUSION
(Invented by Giles Peterson in 1988 according to the acid jazz cabal)
Forget the gods and creators of Jazz Funk. Herbie, Miles Davis, Donald Byrd, Patrice, Larry and Fonce Mizzel, George Duke. You know the crowd, all the people who merged James Brown with Jazz in the early 70’s. The people who’s sound we called Rare Groove when it came back in the 80’s? Remember The Pasedenas, Soul To Soul, Omar and others bringing back the Rare Groove sound? Well they don’t exist anymore. Not according to acid jazz records. They own it. That sound is now being reclassified acid jazz and it apparently came from London in the 1990’s. And it was invented by acid jazz records. Well it says this is acid jazz on compilations featuring those sounds so it must be true. The grooves of all these Jazz Funkateers are gradually being swallowed up by the acid jazz lie machine who believe they can use smoke and mirrors to culturally appropriate these sounds. Bands like Jamiroquai copied, ripped and plagiarized these sounds in the 1990’s. Now they are claiming that they invented it!
THE ORIGINAL JAZZFUNKATEERS
A few of the more well known US Jazzfunkers of the 70’s who’s sounds are being appropriated and re-classified as an English genre invented by Giles Peterson in 1988 called acid jazz. A genre that only acid jazz records seem to know what it is. The sounds of all these 1970’s/80 Jazz Funk gods appear on the 1990’s Jamiroquai albums that they claim is “acid jazz”.
The Dizzy ‘N Bird sound (aka the moody groove/sound)
Chaka Khan; A night in Tunisia-Remake.
“A long time ago in the 40’s, Dizzy and Bird gave us this sound they called it a Night in Tunisia and the melody still lingers on….”
ROY AYRES
The principle Jazz Funk sound that cultural thieves claim is called acid jazz has to be the sound of Roy Ayers. If you don’t know what the moody sound is go and listen to the following tracks. Don’t Stop the Feeling, Chicago and everybody. That is the moody sound. You will see many examples of the moody sound in my recommendations on the SOULHEAD TALES There were several songs during the disco era that stopped the dance floor or sent it into a frenzy. Aquaboogie was one, One Nation under a groove The Anthem of Funk was another and so was Burning Hot by Jermaine Jackson. Don’t stop the Feeling by Roy Ayres was one such track. It literally sent the dance floor into a trance. It’s dark moody sound was totally the opposite to the bright high energy sound of say Earth Wind and Fire. This was the track that really got Roy Ayers noticed by the youngsters although of course Roy had been around for a long time.
So the Dark sensuous moody original Jazz sound of Gillespie paid tribute to by Stevie and the Beatles in the 60’s, updated brilliantly in the 70’s by the likes of Roy Ayres, Side Effect, Creative Source, Captain Sky, Slave and so many more,
Adopted over here by Brit Funk bands in the early 80’s Like Atmosfear, Incognito, Shakatak, paid tribute to by Loose Ends and the SOS band and many more is now all of a sudden a music genre and style invented by Giles Peterson and acid Jazz records. in the 1990’s. There are countless examples of the Moody sound in the Soulhead tales. (Jamiroquai plagiarism list) See the recommendations for Butterfly and Mr moon. In the mean time get a history lesson from the Goddess who is CHAKA. She’s still around. Ask her if a DJ invented that sound in 1990’s London or take a listen her tribute to A Night in Tunisia.
THE JAZZ FUNK ATMOSPHERE OR DIZZY GILLESPIE AND A GENERATION OF BLACK AMERICAN JAZZ FUNK AND SOUL ARTISTS LIKE STEVIE WONDER, ROY AYERS, PARLIAMENT FUNKADELIC, QUINCY JONES, INCLUDING BANDS WHO ADOPTED THE SOUND OVER HERE LIKE SHAKATAK, ATMOSPHERE, INCOGNITO AND MANY OTHERS……IS NOT CALLED “ACID JAZZ” AND WAS NOT CREATED BY ANYONE HERE IN THE UNITED KINGDOM
REGARDLESS OF WHAT ANY SO CALLED “MUSIC WRITER” OR NEW MILLENNIAL MUSIC “EXPERT” TELLS YOU OR WRITES ON WIKIPEDIA IN PRINT OR THE INTERNET
The Late Great Dizzie Gillespie
ORIGINAL JAZZ FUNKATEERS.
Lets go onto some of the other 70’s FUNK geniuses who’s sound and songs were plagiarised by Jamiroquai with no credit given. Sounds which youngsters are being told by Eddie Pillar is called acid jazz…..
PROFESSOR HERBIE HANCOCK
Herbie has made more albums than most people have had hot dinners. To call him a musical genius would be the greatest understatement of all time. Again you can explore Herbie’s incredible collection of groove yourself. He was right there in the beginning crafting the new sound of jazz much to the dismay of the JAZZ Purists who hated the idea. His sound is another sound cultural thieves acid jazz records claim as “acid jazz”. Stuff like Diggin’ out and the digeridooo all come form the early 1970’s experimental period of Jazz Funk. See the Soulhead Tales.
On the Internet they claim that Herbie’s Bassline stolen by Jamiroquai on was written by someone called Levy from the Brand new heavies. So yep one of the most famous basslines in FUNK history now apparently owes it’s existence to a 1990s British Rare Groove band signed to acid jazz records. They are all part of the same crowd, claiming retreads of classic Black American funk as their own creation.
So you’re saying I don’t exist…and a record company in England invented my sound…..acid what?….Gilles WHO invented jazz funk?
The sound of Herbie Hancock is now apparently called acid jazz, a Black music genre invented in London England by a pub DJ….That is according to Eddie Pillar and his gang on the Internet.
Miles Davis. The 60’s Jazz God whom alongside the Likes of Herbie Hancock, Donal Byrd and others actually INVENTED Black American Jazz Funk fusion. Certainly in the early 1970’s the old school Jazz crowd hated the sound. But things evolve. Both Herbie, Miles and many others took tremendous stick in the early days and were accused of being sellouts. Now these albums are considered classics. Bee bop it aint. Jazz Funk it is. MILES WAS THERE FROM THE VERY BEGINNING OF THE JAZZ FUNK FUSION ERA AND WAS THERE RIGHT AT THE END WITH TOM BROWNE, DON BLACK MAN, BERNARD WRIGHT AND NEW YORK QUEENS CROWD. I touch on the sound of queens below.
Miles Davis was a JazzFunkateer And the sound of this Genius has absolutely nothing whatsoever to do with any record company here in London England in 1988.
PROFESSOR DONALD BYRD
Donald Black Byrd was alongside Herbie and is another one of the Musical geniuses who’s sound has been stolen and then claimed as a non existent genre called acid jazz. Jamiroquai plagiarize his sound on Black Capricorn day. as well as Roy Ayers. Eddie Pillar claims it’s acid jazz.
The clue as you have seen is in the title. Donald Byrd’s talent speaks for itself as Youngsters will discover when they feel the groove of the Professor and his students the Blackbyrds. Grooves like Dominoes and Rock creek park were played endlessly in London during the 70’s and when these sounds returned as Rare Groove in the 1980’s. Needless to say this sound is also apparently acid jazz. Jamiroquai rip off his sound on Black Capricorn day.
PATRICE RUSHEN
I will say a bit more about Patrice as often She is left out when people speak about Jazz Funk giants. It might have something to do with the fact that lots of people only know her Disco Rea stuff like Haven’t you heard or her synth funk era grooves like feel so real. Many people don’t know her stunning 70’s Jazz Funk. She was right up there with the best of them. I wish she had created a stable of bands like Prince, Rick James, Roy Ayers and others did. It would have been interesting to hear bands inspired by her.
People often refer to her as the female Herbie Hancock in that she created innovative grooves and successfully moved with the times. Herbie is one of the greats and so is she. When in future people speak about the giants of Jazz funk like Herbie, and of Miles, Liston Smith, Byrd and others her name should be mentioned as well because she is right up there with them. She is far more talented than many famous female artists of the era with higher profiles. Singing music written for you is one thing, but being a classically trained musician with all the hard work and effort that must have taken, working in the studio with your engineers, writing your own songs, producing them and singing them all at the same time is entirely different. Jazz, Jazz funk, soul, latin fusion, synth funk, two step, she could do it all. That is super-talent.
Patrice Rushen. Queen of Jazz Funk and the Synth Funk era.
1970’s and 1980’s. Two decades of brilliance.
Many acts failed in adapting their sound but she didn’t, she was in the top class all the way through the 70’s and the 80’s. If Aretha Franklin is the Queen of soul then to me Patrice is the Queen of Jazz Funk. I can think of no female artist who matches her talent and stay ability.When the FUNK slowed down for a brief period in the early 80’s Patrice really came into her own. She had been here before a decade ago in the mid 70’s when she produced those stunning slowed down jazz funk tracks along with her brilliant song writers and her sister Angela. This time around those instruments were no longer the fashion but she still managed to produce some fantastic to step grooves that made her super famous with the newer generation who didn’t known or remember her earlier stuff. I recall an interview in B&S (Blues and soul) in the early 80’s where she spoke about having to do “more with less” as she was trying to adapt her sound to the synthesizer.
Patrice Rushen the Queen of Jazz Funk is a deserved title. Patrice is very important in the FUNK. She was at the top of the tree in the early 70’s jazz funk period, in the disco era and in the synth-funk era. She also had a hand in the sound of Prince back in the early days and we all know what Prince went on to do in his later career. Kay stole Half the Man from giving up is giving in, Ripped off her sound on Part of Canned Heat, Little L and their Bossa Nova tracks, He kept quiet about that but claimed that her track music of the Earth was inspired by her whereas infact he stole it from Johnny Hammond and the Stone City Band.
Same ole smile! The sparkling smile we all remember glowing from her record covers of our vinyl collections. Still looking great all these years later. Nothing of HER 70’s/80’s sound was invented by 1990’s plagiarists Jamiroquai. And nothing of her Jazz Funk was invented by the co-founder acid Jazz records regardless of what infiltrators of Black music write on this new digital Internet.
THE LAWS FAMILY
A Family that sings together stay together as the old saying went. Back in our day 60/70’s there were tons of families in the FUNK before the serpent new world order took over Black music to destroy creativity and promote degenerate rap in order to destroy communities. Most outsiders only know the Jacksons but the Sylvers, the Laws family, The Isleys, The Winnans, The Reddings, The Debarges and so on are all just as important to those of us who belong in the FUNK. The Jazz funk sound of Hubert and Ronnie Laws as well as the Soul of Deborah and Eloise are all styles of 70’s Black American groove that U.K based acid jazz records claim is a Black music genre that comes from here in London. The Jazz Funk flute of Hubert Laws/Bobbie Humphrey etc as well as the sax of Ronnie Laws are just that. Black American Jazz Funk. Not a non-existent music genre invented by a London pub DJ in 1988 just because it says so on the Internet.
BOBBIE HUMPHREY
Another Queen of Jazz Funk and Soul. A super talented Flutist She was the first Female to be signed to Blue Note. Blacks and Blues is a must have for any Jazz Funkateer, but she has so many classics. Mestizo eyes sounds like it’s been used on (Jamiroquai’s Corner of the Earth) Which also rips off the Bosa Nova sound of Patrice Rushen/E.W.F. The ending of when you gonna learn sounds like it’s stolen from New York Times.
Bobbie and Bootsy Collins
JAZZ FUNK (sound of Queens NY)
Tom Browne
At the end of the period 1980/81 we heard what for me was the most stunning Jazz Funk we had ever heard. The sound progressed from the early experimental jazz Funk of the early 70’s into the slick polished sound you heard from Tom Browne Marcus Miller, Don Blackman, Sekou Bunch and others. And yes MILES DAVIS WAS RIGHT THERE. As i say on my review of Light Years, the Jamiroquai track which pastiches the Queens sound, NY Queens slick and sophisticated but yet raw and street at the same time. Stunning Jazz Funk, stunning rhythms and grooves and viscous bass slaps to rival the Cameo sound of the time period (Feel Me/Cameosis) And Miles Davis was right there on Nard’s album and others.
*Miles was there too finishing what he started in the early 70’s.
Queens New York (Nard, Marcus Miller, Sekou Bunch, Don Blackman)
I can speak for London with authority but I will not speak for New York as I’m sure there were many underground bands laying down Jazz Funk as there were in London who never got a public airing. However going by what we heard from New York Queens I have to say was some of the greatest Jazz Funk ever created. Was it that much different form the slick sophista Funk of the mid 70’s we heard from Pleasure and the Brothers Johnson. Well that depends on your groove but what made this different was that it was “street”. Jazz had a snobbish reputation more so in the 60’s and early 70’s than in the late 70’s but it was still considered to be somewhat elitist. Haboglabotribin
We were listening to what can be described as Jazz Hip Hop coming over from NY at the same time as Rappers delight was on the radio 1979/80. THe idea that Jazz hip hop is the invented of some record company created here in London is the most preposterous and ridiculous lie you could ever think of. NO ONE here in London England would claim that we invented Jazz hip hop It is total and absolute nonsense coming from Eddie Pillar, Gilles Peterson and their Internet disinformation machine.
Above; Marcus Miller back then. Below the celebrated Bass player that he is now.
The Likes of Tom Browne are the originators of what we later called Jazz Hip Hop in the 1980’s. Not a record label in London who have created nothing whatsoever
DON BLACKMAN-LEFT US TOO EARLY
The New York queens crowd added elements of what was happening at the time by adding elements of Rap, street noise as we called it or Rhyming whilst at the same time heightening that moody sound to orgasmic levels. Tom Brownes Funkin for Jamaica, Come for a ride and thighs high, Bernard wrights haboglobatribbin and Master Rocker, Don Blackman bringing his old Parliamentarian groove with him, Sekou Bunch and Marcus Miller thunderfunking the bass with some of the best Bassslap grooves you will ever hear. Queens was magnificent. The synth Funk era ended the Queens sound I love although Tom, Marcus, Bernard and Sekou went on the have decent careers in the 80’s. Sadly we lost Don and the great on Miles. Jamiroquai stole the New York Queens sound on Light years copying the template of Tom’s Thighs high along with Roy Ayers. Fatback, and Parliament.
Eddie Pillar and Gilles Peterson invented Black American Jazz hip hop?!?
One of the sounds entwined in late 80’s FUNK is Jazz hip hop. By the mid to late 80’s it was getting more and more popular There were plenty of bands doing it in the mid 80’s. Black Americans like a Tribe called Quest or British bands like The Jazz warriors. NONE of these sounds have anything to do with acid jazz records. Hilariously on their Wikipedia page of lies they claim that A Tribe called quest are an “acid jazz” band….really? So perhaps someone should ask ATQ what aspect of their sound they owe to a record company here in London England! And the other thing is this. There is no such thing as a hip hop beat. These are FUNK drum patterns fro James Brown and 70’s FUNK. Those who call these drumbeats Hip hop drumbeats are those who don’t know where the beats came from. I have head people call the Go Go drum clatter hip hop. They are not. GO GO is a genre in itself with its own groove. Pump me up and Bustin’ Loose for example.
Modern Jazz hip hop goes back to late 70’s New York and even further. As I state elsewhere the Americans were rapping and rhyming to jazz music going back to Funkin for Jamaica (Tom Browne) and Chilling out (Bernard Wright). No London record company invented Tom Browne, Miles Davis and Queens New York in 1988. “Telephone Bill” by Guitar Watson is another Jazz funk track with rapping on it (1980).
“Talking, rhyming lyrics to a groove is something you’d hear in the clubs everywhere from Macon to Memphis. Man, talking has always, always been the name of the game” – Johnny Guitar Watson
Black American Rap in 1968!
And on a side note, The first real rap sound was when I was a tiny kid in back in the 1960’s. Pigmeat Markam (Here comes the judge) That was in 1968 when this 50 something year old Man was a little schoolboy was getting ready to watch the Moon landing, listening to the MOTOWN and the Beatles. And i have seen stuff from the 1940’s that one could describe as rap. And Black American jazz Men were talking and scating over Jazz way back in the early 20th century, So the idea that Eddie pillar and Gilles Peterson are somehow responsible for Black American Jazz /Funk/ and Rhyme or Jazz Hip Hop is as ridiculous a lie as you could imagine. But then again they are claiming ownership of all styles of 20th Century SOUL just because they print their name on the front covers of compilations so you shouldn’t be surprised.
These cultural thieves, acid jazz records, are basically hoovering up all style of Black music then claiming they invented them.And whilst it’s not exactly hip hop. “talking over music” goes all the way back to Black American Blues of the early 20th century. That’s now 100 years ago. Try Whitewash Station Blues by the Memphis Jug Band. (1929). It was the kids of this generation like James Brown who created SOUL. Not Eddie Pillar, Gilles Peterson and Jamiroquai acid jazz records in the 1990’s. I digress.
.…………My sound is called acid what?
Miles Davis began the shift in sound during the early 1970’s and he was right there at the end of the Jazz Funk years as the synth began to take over. He also worked with Cameo during the 80’s. Miles was and still is a legend. He is right here in spirit.
NEVER LET ANY OUTSIDER TELL YOU THAT THE JAZZ FUNK FUSION OF MILES DAVIS, OF HERBIE, DONALD BYRD, GEORGE BENSON, GEORGE DUKE AND ALL THE OTHER ORIGINAL JAZZFUNKATEERS IS A MUSIC GENRE INVENTED BY ACID JAZZ RECORDS OR ANY 1990’S FUNK TRIBUTE ACT FROM THIS COUNTRY. AND NEVER LET ANYONE TELL YOU THAT JAZZ HIP HOP OR ANY SOUND OWES ITS EXISTENCE TO AN INFILTRATOR RECORD LABEL BY THE NAME OF ACID JAZZ. THESE 1990’s USURPERS, CULTURAL THEIVES AND PLAGIARISTS OWN NOTHING OF BLACK MUSIC.
WHEREVER YOU SEE THE WORDS ACID JAZZ ATTACHED TO JAZZ FUNK, JAZZ HIP HOP OR ANY STYLE OF BLACK MUSIC SEE IT FOR WHAT IT IS. AND ATTACK ON YOUR CULTURE BY THOSE WHO SEEK TO CULTURALLY APPROPRIATE IT.
Gamble and Huff (Producers)
The gods of Disco era FUNK If you ever watched the American version of the apprentice and heard the theme tune well you heard Gamble and Huff. (The Ojays- For the Love of Money) They were the most prolific songwriters and producers. They wrote for the three degrees, MFSB, Lou Rawls, The Jacksons, Teddy P, and many more. People like this are responsible for the Disco era sound others now claim they invented.
THE NEW GENERATION IS BEING INDOCTRINATED BY CULTURAL THIEVES ACID JAZZ RECORDS THAT THE BLACK AMERICAN DISCO SOUND OWES IT’S EXISTENCE TO THE LIKES OF JAMIROQUAI.
IDRIS MUHAMMAD
Idris is yet another great of the era plagiarised by Jamiroquai. Could Heaven ever be like this was straight ripped on (alright) and I don’t seem to see any credit given to him on the album cover. Come to think of it I can’t see any of these bands being given credit on any so-called Jamiroquai album. NOTHING on that track belongs to Jamiroquai. See THE SOULHEAD TALES.
The 1970’s Disco era FUNK of Idris Muhhamed who worked with people like Curtis Mayfield and Sam Cooke is now claimed as “acid jazz” a nonexistent Black music genre supposedly invented here in London in 1988 by a DJ called Gilles Peterson…..That is according to Eddie Pillar and his International crowd of cultural thieves on the Internet. Nobody in the Black community on either side of the Atlantic.
THE WORLD SOUND
THE SOUL/LATIN/AFRICAN/CARIBBEAN FUSION OF THE LATE 60’s EARLY 70’s.
It was rough raw and ready. Funksters will remember the early days of the 70’s when people were experimenting with all manner of sounds. Mixing Latin, African and South American sounds like Calypso into the groove. Lots of it was based on a music genre called High Life from Ghana, a sound adopted later by Nigerian legend Fela Kuti. The Afro Beat and the Black Latin sound of the late 60’s has a major influence on early 70’s FUNK. Later on in the mid to late 70’s Earth Wind and Fire, George Duke especially polished the Latin Funk sound to perfection, but Mandrill Herbie, Osibisa, Cymande and many others got the ball rolling as far I remember. In the late 80’s and early 90’s when we were adults, this sound came back as Rare groove. Acid Jazz records claim this sound as 100% acid jazz. You will find this sound on many mixes they claim is a music genre invented in 1988 by Giles Peterson.
The African and Latin Sound
The African sound of South America was of course part of the FUNK. Bossa Nova, Salsa, samba, soca and calypso came from South America. Genres all of which (Apart from Soca) were incorporated into the FUNK to varying degrees. Earth Wind and Fire, George Duke being two notable examples. Though we go back to bands like Mandrill and their British equivalents Osibisa and Cymande fo find it’s roots. And of course there were many other bands doing similar. You will find a lot of the African-Caribbean sound in the FUNK and many of the Horn sounds in early jazz funk come from high-life. A genre which came from Ghana and was adopted by legendary musician and showman Fela Kuti with which he mixed everything from Jazz Funk salsa, calypso and traditional Nigerian Yoruba music.[
The likes of Herbie and Miles Davis used a lot of these sounds in the early days and many jazzfunkateers went to Africa. Donald Byrd paid tribute to Ghana with the tracks Kofi and Fufu, Roy Ayers jammed with Fela in Nigeria, this was great era and there were a whole lot of collaborations. Lot of Jazzfunkateers landed in Africa during the 70’s. Makossa from Cameroon is another African genre that was sometimes incorporated into the FUNK Manu Dibango’s Soul Makossa (1973) is a legendary club track known worldwide.
Years later the words Mama-se, mama-sa, ma-ma-koo-sa appears on the Michael Jackson track don’t stop till you get enough. So don’t underestimate the impact of the African and Latin sound on the FUNK. Many of the Disco era bands toured Africa especially Nigeria. The mainstream media won’t tell you anything about it so ask an older African. My real Soul knowledge was learned In West Africa. Jazz Funk is full of the Latin and African sound but you have to know what it is to pick it out.
And none of it was invented by acid jazz records. NONE of these sounds have anything to do with them. UK Bands like Loose Ends, Linx, Galaxy and Shakatak were doing the Latin Funk sound in the early 1980’s. Singing by Delegation was a big underground hit. Jazz rap and jazz hip hop as I have already stated came from the states and started in the late 70’s and early 80’s way before acid jazz records was ever created. And rap goes way way back into Black American History. So all these sounds are from the 50’s, 60’s, 70’s and 80’s and Acid jazz records created in 1988 had nothing to do with any of them. They just want you too think they do. Go listen to Soul Bossa nova by Quincy Jones that was in 1962. So the idea that a London record company invented South American Bossa Nova in 1988 is just as ridiculous as the whole acid jazz cultural myth they are trying to create.
Mandrill
As I always say to youngsters. If you want to know what we called “The Funk” listen to Fencewalk by Mandrill. Mandrill inspired many bands in the 70’s including Earth Wind and Fire. The could do it all. Funk, Jazz Funk, Latin Soul, Funk/Rock the African sound you name it. Among Funksters they have as much respect as Parliament Funkadelic. That’s how big Mandrill are. The old school FUNK of mandrill also appears on so called acid jazz albums. There is no such thing as a Black music genre called acid jazz.
When America had Mandrill & Funkadelic we had..
….Cymande and Osibisa.
Both OSIBISA and CYMANDE are well known to Funksters of the 70’s all over the Globe. Their fusion of Funk , Rock, Afrobeat, Soul and pop made then legends back in the day. OSIBISA were probably more well known to the public because of their smash hit Sunshine Day but both bands are equally respected among people who were into any genre. And like Mandrill/Funkadelic, OSIBISA and CYMADE had a big following of Rock fans as well as people from Africa and Latin America. All these sounds are being culturally appropriated by acid jazz records and reclassified as this non existent genre
Cymande and Osibisa.
The Meters
The Meters were once apparently described by Mick Jagger as the best band in the world. They were one of the many Funk bands doing the old style James Brown Groove in the early 1970’s. Back n the day s of Stax and Trojan. I didn’t hear much about them in the Disco era. In my book Jamiroquai stole the groove from (Just kissed my baby) as well as George Clinton/Parliament. This was on the Emergency on Planet Earth album which Eddie Pillar & Gilles Peterson claim is a Black music genre called acid jazz. So they claim that James Brown is the invention of a record company. IT IS NOT.
The Meters. Back in the 70’s and now in the early 2000’s.
Jamiroquai’s whatever it is I just can’t stop is James Brown by the way of The Meters. We are being told that this sound is “acid jazz” invented here in London in 1988….So James Brown was invented by a London pub DJ Called Gilles Peterson……Apparently…well according to American and Eastern European zionists on the Internet.
Black American Gospel
LARRY GRAHAM
Larry is one of the biggest characters in SOUL music. Another Giant of the FUNK who would take all day to do a write up on. He was the bassist in Sly and The Family stone and is the godfather of the Bass slap. Jamiroquai copied or attempt to copy Larry’s (POW!) bassline on Traveling without moving and mimicked his Funk Gospel sound on Revolution which rips off Momma by Ronnie Laws.
Black American Gospel is now called acid what?
The Bar-Kays
The Bar-Kays
Pic credit; The Stax Museum of American Soul-The Zelma Redding collection
Barkays were already the stuff of legend before the disco era at the time of STAX, one of the dominant record labels in the first half of the 70’s. They used to be the backing band for Otis Redding one of the giants of 60’s Soul. Many of the band members were killed in a tragic plane crash along with Otis. On a side not the Reddings, the boys of Otis had a few FUNK hits in the 1980’s. (Remote control) was a hit in the London underground and (In my pants) was great track as well worthy of the Barkay’s and Cameo.
The Barkays were giants of the 60’s the 70’s and the 80’s having no problem adjusting to the electro sound. Just like Kool and the Gang they kept on top of the game, and alongside The Gap Band, Zapp, Cameo and Rick James to name a few they kept the Hardcore Funk fans happy winning many new younger fans. They appear in the film Breaking performing Freakshow, a groove similar to (No parking on the dance floor) by Midnight Starr. If you want to understand the old Barkays of the 70’s then watch them at the wattstax festival 1972 and prepare to experience THE FUNK.
Two different eras two different style of dress and style of Funk
Above The Barkays performing at Wattstax back in 1972
Below the 1980’s Electrophonic Punk Funk era Barkays
Jamiroquai ripped their track Night Cruising for Planet Home and gave them no credit
I think the Barkays will recognise Night Cruising on Jamiroquai’s Planet Home
Don’t you?
SOPHISTA-FUNK
SOPHISTA-FUNK
Jazz Funk evolves. SophistaFunk starts around 1975/75 at the time of Stevie’s incredible Songs in the Key of Life album. The sound of that album and tracks like Contusion or Black Man is something we hadn’t really heard before. As Berry Gordy of MOTOWN Remarked, The sound was unique. Needless to say there were plenty of others in the mix at the time and musical geniuses like Quincy Jones who knew how to handle a full orchestra came into their element. By now the sound of Jazz, Funk, Soul, Latin etc have completely gelled and sound better than ever before. It’s tighter slicker Sophista Funk was just that. Sophisticated Funk. It was slightly faster as the sound was speeding up then as we approached what we now call the Disco era of the late 1970’s. had incredible basslines, and psychedelic Dreamlike harmonies. Pleasure, T connection
Quincy Jones aka The Q
Quincy Jones was already famous long before the 70’s. He had been around since the 1950’s before us Disco era kids were born and had worked with everyone from Dizzie Gillespie and Elvis Presley, wrote movie scores, TV themes, Produced some of the greatest Funk of the Disco era which included Michael Jackson’s Off the Wall and Light up the night With the Brothers Johnson which includes the track I personally believe to be the greatest track of the Disco era. Certainly Earth Wind and Fire CHIC! and all the rest were right there in the tidal wave of FUNK that engulfed us back then but there always seemed to be smoothing ta little special about the Quincy Jones sound. You could feel it even listening on the old fashioned radios we had back in the 70’s. Hear the quality of the sound on the music he did with Patti Austin like Razzamataz and Ai no corrida. Quincy Jones the man with the orchestra is for me at least the Godfather of sophistafunk. The Brothers Johnson albums alone prove that.
Thunder Thumbs & Lighting licks aka The Brothers Johnson
The Brothers Johnson were probably the Masters of the sophistafunk groove. lining up with the god that is Quincy they had the same psychedelic 70’s Funk harmonies of Roy Ayers, Herbie Hancokck and Liston Smith but what clinched it was the guitar work of Louis and George. The Bass slap took mid 70’s Funk to another level but the incredible sound of George on the guitar cannot be overlooked. Listen to Strawberry letter 23, a remake of a Shuggie Otis groove. Some call Shuggie the original Prince.
The gods of Sophista-Funk
THUNDER THUMBS AND LIGHTENING LICKS AKA THE BROTHERS JOHNSON
Jamiroquai do what sounds like a weak copy of the classic Brothers Johnson sound towards the end of the track (Emergency on Planet Earth), mimic the chorus of their track (Tomorrow) on the intro to just another story, plagiarize the horn section of Tokyo on (Bullet) and loop the intro of (Light up the night) on Titan/Every bodies going to the moon. Canned heat has the feel of (The Real thing) from the Winners album as well as George Duke, Positive Force and others. See the SOULHEAD TALES.
THE SOUNDS OF THE BROTHERS JOHNSON DOES NOT COME FROM A LONDON RECORD COMPANY FORMED IN 1988
PLEASURE
It’s a great travesty that Pleasure for whatever reason didn’t get much airplay during the late 70′ but there were just so many amazing bands around during the disco era competing for airtime It’s not that really surprising. I think they were more well known in the U.K than in the States. It was in the late 1980’s and early 1990’s when 70’s Funk began to return that Pleasure became famous among the youth and older Funkster who hadn’t heard them before. Or like many though Glide was done by Slave.
Their Psychedelic harmonies, slick tight horns and the thunderous Basslines of Nate Miller were a match for The Brothers Johnson. Sadly like many of our bands from the 1970’s they broke up in the post Disco era when the sound changed. The Dazz Band would be the closest band to Pleasure in the 1980’s and I read anecdotally that some of the members of Pleasure joined the Dazz band though I can’t confirm it. High Times is ripped from the intro of Universal mind by Pleasure. Pleasure is one of the few bands they admit to listening to but I’ve never heard them mention Universal mind.
PLEASURE 1976-1982. We are now being told The synagogue of Satan that they owe their sound to 1990’s plagiarists Jamiroquai and that their brand of Sophista-Funk as well as that of 70’s Giants like the Brothers Johnson is called acid jazz and owes it’s existence to a London pub DJ.
EARTH WIND AND FIRE
After Stevie Earth Wind and Fire are probably the act Jamiroquai have stolen from the most. They have plundered their albums, looped and straight copied their groove whilst imitating their Energy Signature then taken credit for it.
E.W.F or the Elements as we call them are in a class by themselves. If you don’t know who they are then their sounds will blow your mind. There is probably no one who can touch them in the Disco era other than CHIC! or Quincy’s crowd ( Michael Jackson, The Brothers Johnson) and maybe the Jackson’s. Yes there were many incredible artists but E.W.F were and still are something else. The spiritual sound and the messages within are unmatched by anyone though Roy Ayers told people a lot about life. These are the messages the new world order are trying to erase from music in order to dumb down and destroy the youth.
They incorporated the Latin sound, Calypso and even the didgeridoo into the groove. The Phenix Horn section are probably the most famous Horn section of them all. As you would expect the Orchestral sophistafunk sound of Earth Wind and Fire didn’t fair too well in the Electro Funk era. Its not really a sound that translates into the synth.
The toned down RAISE album their post disco album was spectacular but it was nothing like the old 70’s E.W.F we had grown up with. The sound had changed. By 1983 as the post disco period ended and the charts were full of Electro-Funk the all singing all dancing orchestral sound of the 70’s had gone out of fashion. They still made some good albums and were in the 80’s but not a visible as they had been in the 70’s. They did a lot of work over here in England. The Phenix horns went off to work with Phil Collins, who also had a pop hit with lead singer Philip Bailey and some of the guys worked with Level 42. Phil also had a solo career during the 80’s and did a great cover of Children of the Ghetto originally by Brit Funk Heroes the Real thing. Legacy as far as the 70’s/80’s is untouchable. Many people describe them as the greatest Funk band of the era and it’s difficult to argue that they are not. The spirituality in their groove and the messages therein put them one step ahead of the rest. See how many times they mention the word Love. Listen to the messages in their songs. They well understood the Kemetic laws and their own history. They told you what to do and challenged you to change.
Celebrate- E.W.F
WE HAVE LOST MAURICE WHITE TO THE ANCESTRAL PLAINS BUT E.W.F ARE STILL WITH US AND LONG MAY THEY AND ALL THE OTHER CREATORS OF SOUL MENTIONED ON THIS BLOG CONTINUE TO BE AROUND. THEIR LEGACY WILL NOT BE STOLEN FROM THEM BY ANYONE.
Jamiroquai looped the intro of (My Love), copied the singing style of Maurice White, their track (Shining star) and the ending of Planet Home from E.W.F. Mimicked their style on the Bossa Nova tracks like corner of the Earth, copied their basslines on (you give me something) and on (Slipping and sliding) ripped them off on (Our Time is coming) & other tracks. SEE THE SOULHEAD TALES.Then see if you can see credit given by Jamiroquai.
CON FUNK SHUN
Con Funk hun were around in the lat 1960’s but us disco kids didn’t know who they were until the late 1970’s. With two lead singers and a stunning horn section people compared some of their stuff to Earth Wind and Fire. Too tight for example. I can hear what sounds like the Confunkshun Horn section on Where do we go from here (Synkronised 1990) alongside plagiarized early 1980’s grooves from (New York) Skyy and Ernie of the Isley Brothers.
KOOL AND THE GANG
Kool and the Gang are the one band I consider to be the equals of Earth Wind and Fire. They too were around years before they became popular and known to us Disco era kids. Their Raw Funk of the 70’s is Legendary but their lesser know transcendental spiritual sound is a match for Earth Wind and Fire.Whisper softly, Sunshine and the Disco smash open sesame for example. Jamiroquai ripped of Kool and the gang on Emergency on Planet Earth which is just a remake of Rolling.
The Randy Muller
BT Express, Brass Construction, Skyy, Raphael Cameron.
Randy Muller is one of the most important people of 70’s FUNK. His Funky sound is the stuff of SOUL Legend. Tracks like Movin’ and Changes are Disco era classics. BT Express his other famous band were almost as popular. Known for his hard Funk sound, driving rhythms and distinctive voice the disco era wouldn’t have been the same without Randy Muller.
Skyy who came later showed that he could do the soft core FUNK as well. Nobody could believe that Randy was behind tracks like (Here to you) by SKYY which matched CHIC, DYNASTY, DELEGATION and others doing that sweet violin sound at the time. Jamiroquai copied the intro and the famous Horn rift from Movin’ as well as parts of the groove on hooked up.
So you’re saying my sound was invented in London England in the 1990’s…..
…get outta here!
THE 70’s SPACE AGE (COSMIC) SYNTH
Another Black American sound of the 1970’s Invented by Giles Peterson in 1988 according to the acid jazz cabal on Wikipedia Now apparently a music genre called acid jazz. Stevie and his vocoder, Billy on the Clav, The incredible cosmic sound of Worrel, Herbie, Lonnie Liston, Roy Ayers, Greg Phillinganes the name you saw on so many albums but didn’t know who he was because he kept such a low and humble profile, George Duke, Johnny Hammond, jimmy smith, The Funky worm, the greasy synth all the old keyboards sounds you remember are now supposedly 1990’s acid jazz from London, invented by a DJ. A magazine claimed that Jamiroquai were using “acid jazz” style keyboards on the Space cowboy album. Perhaps someone should tell them who Bernie Worrel is. See the SOULHEAD TALES.
The sound of Bernie Worrel (Parliament Funkadelic) was plagiarised by Jamiroquai on tracks like Planet Home and Just another story. WE are now being told that his styles as well as that of the other great keyboard geniuses is called “acid jazz” and was invented by the co-founder of acid jazz record Gilles Peterson.
You kiddin’ me…..ACID WHAT?
The late great Bernie Worrell. The man on the Keyboard of Funk Classics like One Nation under a groove and knee deep now has his sound attributed to 1990’s Jamiroquai.
THEY CLAIM THAT NEW JACK SWING AND NEO SOUL WERE ONCE CALLED ACID JAZZ….REALLY? see if you can find any evidence of that in any Black Music publication or on any T.V show or in any club report anywhere?
Lets not forget as you have already seen they claim late 1980’s New Jack Swing & 1990’s Neo Soul bands are also playing this elusive acid jazz genre for which nobody can name a single tune. So they are essentially claiming all styles of Black music from 60’s Motown to 90’s Neo Soul was invented by Giles Peterson here in London in 1988. Well they claim Giles Peterson is credited with creating this genre do it follows that all “acid jazz” FUNK, JAZZ FUNK DISCO, NEW JACK SWING, NEO SOUL BLACK AMERICAN GROOVE is his invention.
YOU WILL FIND NO MENTION IN ANY BLACK MUSIC PUBLICATION OF THE ERA WHICH CREDITS A LONDON DJ OR ANYONE ELSE WITH THE INVENTION OF A MUSIC GENRE CALLED ACID JAZZ. SOMETHING THEY OBVIOUSLY DIDN’T THINK ABOUT WHEN PLANNING THE OR CULTURAL THEFT OF BLACK CULTURE.
New Jack Swing
The Black American sound of the late 1980’s which they claim was once called acid jazz. No one called New Jack Swing Acid Jazz because there is no such thing as a Music genre called acid jazz. That is why you will find no reference to anyone calling New Jack Swing Acid jazz in any Black music publication, any film or any T,V show, Infact New Jack Swing was in existence before Acid Jazz records was even created by the Synagogue of Satan!
NEO SOUL
The Black American sound of the 1990’s which they also claim was once defined as acid jazz. So as I say in 10 easy ways to debunk the acid jazz lie, ask the Black Americans if they ever called New Jack Swing and Neo Soul “acid jazz”. Or attributed their sound to a London pub DJ. If Britain influenced the American sound of the 1990’s it was because of Sou to soul, Loose Ends, Billy Ocean, Omar and the rest of the 1980’S British Soul invasion that acid jazz records are trying to wipe from history.
IT HAD NOTHING WHATSOEVER TO DO WITH ANY RECORD COMPANY THAT NO ONE HAD EVEN HEARD OF UNTIL THE MID 1990’s JUST BECAUSE THEY PRINT THEIR SATANIC NAME ON THE FRONT COVER OF NEW JACK SWING AND NEO SOUL MIXES .
As you will see in TEN EASY WAYS TO DEBUNK THE ACID JAZZ LIE, You will find no mention of New Jack Swing, Neo soul or any style of Black music ever being defined as “acid jazz” at any stage in the 1980’s because it does not exist and no record label or DJ in this country or this City of London England is responsible for any style of Black music. You will find no mention of any “acid jazz” bands,”acid jazz” charts,”acid jazz”singers, singles, albums or anything at all to do with this non existent genre.
THAT’S WHY NEITHER EDDIE PILLAR OR GILLES PETERSON OR INDEED ANYONE ELSE CANTELL YOU THE NAME OF A SINGLE SONG THAT BELONGS TO THIS FAKE SO CALLED GENRE. AND NEITHER CAN THEY TELL YOU EXACTLY WHICH JAMIROQUAI TRACK BELONGS TO THIS SO CALLED GENRE.
THE CHARTS AND THE T.V SHOWS AND THE MUSIC PUBLICATIONS WILL PROVE THAT THERE WAS NEVER EVER A BLACK MUSIC GENRE CALLED ACID JAZZ INVENTED HERE IN LONDON IN THE 1980’s OR AT ANY TIME. IT DOES NOT EXIST. .
SO CALLED ACID JAZZ DOES NOT EXIST. IT IS A SERPENT MYTH IN ITS EMBRYONIC STAGES. STAMP IT OUT BLACK AMERICA
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