1) Introduction
2) False Information- Jamirqouai’s Wikipedia Lies.
3) Plagiarism on The Return Of The Space Cowboy
1) Introduction
The return of the Space Cowboy is as any AUTHENTIC 1970’s/1980’s Funkster or one who knows anything about Black Music will tell you is a SOUL/R&B album. There are two types of people who will tell you that this album either is or contains a non existent music genre called “acid jazz”. Those who don’t know what Rare Groove is, or have never heard of something called 1970’s/80’s Jazz, Funk and Soul. And those who are part of their International disinformation cabal. The 20th Century SOUL/R&B of our youth did not suddenly become Acid Jazz just because the likes of Eddie Pillar and Gilles Peterson decided they were going to call it that in the 1990’s. These people have no claim on any from of Black Music whatsoever and neither do they have the right to walk into Black culture and start re-classifying THE FUNK. They are outsiders and do not represent Black Music here in London in the 1980’s,1990’s or at any time. Regardless of the lies they have written on Wikipedia. There is no such thing as a Music genre or Sub genre called acid jazz and anyone who claims that there is should tell me what this acid jazz genre is in the comment section.
Acid Jazz is a Serpent infiltration of Black Music and Black culture. An attempt to infiltrate and then take ownership of the legacy of Jazz, Funk and Soul through traditional serpent disinformation. It is a concerted attempt to systematically culturally appropriate THE FUNK. However as I have proven you cannot fool people on their own music culture. Serpent deceit doesn’t work in music! I know what all these sounds are. We (Authentic 1970’s/1980’s Funksters) know what all these sounds are. None of them are called “Acid Jazz” and none of them were invented here in London by Gilles Peterson or by anyone else. 20th Century Black American Soul was not invented here in England in the late 1980’s by a DJ and a record Label or by Plagiarists Jamiroquai in the 1990’s. THE FUNK is and always will be American.
People who refer to The Return of The Space Cowboy or any other so called Jamiroquai album as “British 1990’s Acid Jazz” know nothing about Black Music or about FUNK. There is little or nothing “British” in terms of music on this album. And I speak as one who knows all of our (U.K) sounds of the era. The closest thing to a “British sound” is Mr Moon which mimics the old Post Disco Brit-Funk sound as epitomized by Shakatak, Atmosfear, Level 42, Direct Drive, early Incognito and so on. I was right there. And even that Dark “moody” or “midnight” sound as we called it came over from America in the 1970’s. From Patrice Rushen and Roy Ayers. From The Gap Band, Captain Sky, Quincy Jones and many more as you will hear in my recommendations. We know who Herbie Hancock and Lonnie Liston Smith are. We know who Parliament Funkadelic are. We know what Cosmic Funk is, we know the sounds of Jazz, Funk and Soul. It was our Childhood. Nothing on Return of the space cowboy was new unique or groundbreaking. What you heard from Jamiroquai and many others over here in the U.K in the 1990’s heard of and has never had a hit in his life. 1990’s/2000’s new millennial so called music “experts” or indeed any other person who calls this album or any style of FUNK “acid jazz” are people who simply don’t know what any of these sounds are. They know nothing about Black music.
2) Debunking Jamirqouai’s Wikipedia Lies.
The return of The Space Cowboy follows on from Emergency on Planet Earth and also replays the sounds of 70’s/80’s Funk though it has the ambiance of an early 1970’s Album. Back in the day when this was released every Funkster would have recognised at least some of these grooves even if they couldn’t remember who the bands were. The 1970’s was a distant memory when this album came out in the 90’s. It was around this time that AUTHENTIC Funksters and some in the media old enough to remember the old days mocked Jay Kay and Jamiroquai for their blatant plagiarism. Those journalist were old school. So you know that any mainstream so called music press you read from the 1990’s calling these albums “new” or “unique” or referring to them as “acid jazz” were not old school, had no Idea what they were talking about and no knowledge of FUNK. There is nothing new, unique or innovative on this album or any other Jamiroquai album.
So lets take a look at what Jamiroquai have written and you will immediately see that The Return of the Space Cowboy is deliberately mislabeled on Wikipedia as Acid Jazz. Hmm, really? Says who? See how they are pushing the Eddie Pillar/Gilles Peterson cultural appropriation agenda along with their claim to have written all these albums by themselves. No, The return of the Space Cowboy is a SOUL album. It can also be classified as FUNK or R&B. Some would have referred to it as a Rare Groove (Retro 70’s Funk) Album. Like all Jamiroquai albums its a retread of what came before.
Wikipedia- False classifications of SOUL/R&B on The Return Of The Space Cowboy
Ready for a laugh? …. Annnd…straight away, as you can see above they have no real understanding of THE FUNK and know nothing about Black music! They have no clue how to categorize any of the sounds on the Album. Or maybe they do and think they can fool people. lets examine what hilarity they have written in trying to categorize this album. So as you can see they claim that Jamiroquai are a Funk and an Acid Jazz band. Inference being that Acid Jazz is a music genre in its own right. A non existent music genre which they claim was invented by Former Invicta FM DJ Gilles Peterson in 1988. Of course were you to ask them what part of this album is this acid jazz they wouldn’t be able to tell you. They wrongly thought that no one would be able to categorise or argue on any of these tracks because they themselves didn’t actually know what style of FUNK most of these songs are! As I say elsewhere they keep changing these genres on Wikipedia to match what I say. They claimed for years that these albums were acid jazz. Then after about five years or so they suddenly changed it to Funk and Acid Jazz.
They are desperate to take ownership of FUNK and they think (As serpents always do) that by repeating a lie over and over again and mass producing mix after mix of FUNK fraudulently labelled as acid jazz, they can gradually change public perception and make the global populous, the new generation of music lovers believe that they invented everything from 1950’s Black American Doo wop to 1990’s Neo Soul. They also go onto claim this is usually classified under Funk …...and Acid jazz.
Usually Classified? Usually?!……..by WHO EXACTLY? Eddie Pillar?
WHO CLASSIFIES THIS ALBUM AS FUNK AND ACID JAZZ? WHO?……
NO BLACK MUSIC WRITER OR ANYONE WHO KNOWS THE FUNK WILL CLASSIFY THIS AS “ACID JAZZ” BECAUSE THERE IS NO SUCH THING AS A GENRE CALLED ACID JAZZ.
Notice they never say who or what Black Music organization, band, singer etc “classifies” this Funk album under Funk and Acid Jazz. That’s because nobody does except modern day music writers who have read this BS on Wikipedia and know nothing about 1970’s/1980’s FUNK or Black Music.
ASK GILLES PETERSON TO TELL YOU WHICH STYLE OF FUNK HE CREATED
Gilles Peterson “often credited” with originating the genre..WHAT GENRE?
CREDITED BY WHO?……….. WHAT GENRE?………… Total serpent BS
Lets move onto more hilarity and their attempt to fool us on THE FUNK. According to what they have written this album in addition to apparently featuring this imaginary “acid jazz” genre also contains R&B, Soul, Pop and Funk!…HAHAHAHA!
There is no acid jazz on this album because acid jazz does not exist and neither is there any Pop on this album. What they have done here is try to make it appear that R&B, SOUL and FUNK are different/separate genres. Well they are not as R&B, SOUL, and FUNK all mean the same thing. As I have already said this album can be classified as all the above. As an (R&B) Rhythm and Blues album, as a SOUL album or as FUNK. So why have they separated them like this?
Well so that they can slip in acid jazz and make it look as if acid jazz is some form or style of Funk that why! They are trying to fool the youngsters and those who don’t know anything about 20th Century Black Music into thinking that there is a separate genre called soul, a genre called funk and a genre called R&B when infact they are different names for the same thing. As I said it’s smoke and mirrors but of course whilst it might fool a youngster looking at this on Wikipedia or someone who doesn’t know much about Black music of the 20th Century.
We used these words in different contexts. So for example as I already mentioned on the E.O.P.E breakdown, Soul was used as a term for the slowed down ballads, but it’s also just another name for FUNK. When you were listening pirate radio and the DJ said we have a Soul DJ coming in for the night show you would know that he was gonna be playing slow tracks, Ballards. You knew you were in for a heavy dose of Marvin Gaye, Barry White, The Isley Brothers and so on.
James Brown is the Godfather of SOUL but what did he play? He played FUNK. He could belt out a ballard with the best of them but he was mostly know for his rough and ready Hardcore FUNK. The words FUNK and SOUL are interchangeable together with R&B. They are all umbrella terms for the Groove. They are not separate genres! Only someone who knows nothing about Black Music would term them as such.
Smoke and Mirrors the art of obscuring the truth—Does not work in music!
We used to say we are going to a SOUL CLUB but never to a FUNK CLUB. We went to a SOUL CLUB to listen to THE FUNK. If someone like a Punk or a Reggae Rocker said to you what type of music are you into? we would say I am into FUNK or I like SOUL. But if a fellow funkster asked you what style of a FUNK are you into and you said SOUL then he or she would know that you were into the slow stuff and not your Hardcore Funk , or Jazz Funk or Electro FUNK and so on.
You see you had to have been there to fully understand all these terms or at least to have listened to someone who was actually there during the Disco era and the 1980’s. And these people from places like Czechoslovakia, India, Israel, Holland, Germany etc don’t have the first clue about any of this. These people don’t even know enough about Black music to tell you what Funk even is and yet they have locked down these pages and are rewriting Black Music history on Wikipedia. Trying to steal the African American legacy of the 10th Century.
You will find no mention of any such thing as an “acid jazz” or “Club Jazz” genre or subgenre of Black music emerging from this City in any Black music publication of the 1980’s. Or on any T.V Show, Club report, Soul chart etc etc. It is a total lie.
Lets take a look at what else they have uploaded to their Wikipedia page…
Right, So they claim that Morning Glory was sampled in (Bite Our Style) by Missy Elliot. Well if you scroll down the page you will see that (Morning glory) sounds like Jamiroquai ripped off Stevie Wonders (Visions). so Missy Elliot sampled STEVIE WONDER and not Jamiroquai. As If Jamiroquai wrote that track. They also claim a similar occurrence occurred with Manifest Destiny in a track by Tupac. Really?, Well I recognise the underlying groove of Manifest Destiny from The Commodores, Pleasure and Johnny Hammond. As people will see below. So isn’t it funny that you can read about people whom apparently “sampled” Jamiroquai’s plagiarised Funk but you can’t read about any of these bands that Jamiroquai stole from. That of course is because Jamiroquai band members were there deleting the truth. Then deleted their Wikipedia profiles when I called them out on this blog. Jay Kay used another profile. Sue me if you dare. Two members have recently restored their accounts but not befor I took these screen shots!
So these are the writing credits for The Return Of The Space Cowboy…
So according to Jamiroquai on Wikipedia, Jay Kay, Toby Smith and Stuart Zender are responsible for the tracks on this album. Lets see if their Smoke and Mirrors work on this Funkster shall we. And for those of you youngsters who came for the FUNK. Well your musical life will never be the same again. I have tons of recommendations to offer. Enjoy..
NOTE NOV 2021: Having initially claimed that Jamiroquai play Acid jazz, then Jazz Funk, then Jazz-Funk and acid jazz.( I wish they would make up their minds what style of FUNK Gilles Peterson actually invented in 1988).
They now claim that only the first three Jamiroquai albums contain this elusive acid jazz genre that none of us AUTHENTIC FUNKSTERS have ever heard of.
So does that means they (Eddie Pillars Wikipedia mob) claim that early 1970’s FUNK was invented by Gilles Peterson 20 years later? So they have given up trying to claim He also invented Disco /Post Disco era Funk, New Jack Swing, and Neo Soul. Didn’t they say that these genres were once classified as Acid Jazz in the 1980’s even though there is no record of this in any Black music publication of the era. Confused? So am I. You see kids this is what happens when you tell so many lies. It also proves how desperate the synagogue of Satan are to attach themselves to the Energy of FUNK!
3) Plagiarism on The Return Of The Space Cowboy as I heard it
So this is The Return of the Space Cowboy as reviewed by an Authentic 1970’s/1980’s London Funkster. ME, and not by a mainstream so called Music Journalist/Writers who thinks the FUNK is called “Acid Jazz” because they read it on the Internet. Or those who don’t know what Jazz, Funk and Soul is and therefore think that all these 70’s/80’s sounds were invented here in London in the 1990’s. There is nothing called “acid jazz” on this album. There is nothing called acid jazz on any Jamiroquai Album. There is nothing called acid jazz on the album of anyone else regardless of what Eddie Pillar prints on the front cover of SOUL mixes.
Now go ahead and feel the FUNK. Some of these track will blow your mind. May they fill you with energy and happiness. Help you cope with the crap life has a habit of throwing at you in this testing ground. If you weren’t around in the 1970’s then don’t worry I was. And if you liked the Return of the Space Cowboy album in the 1990’s then I know EXACTLY where to take you.
Released 1995
acid jazz
SOUL /R&B
“Acid” Jazz is Black Music appropriation
Acid jazz is a lie. Just like Jamiroquai writing credits…
it’s
Just Another Story
acid jazz
(1970’s Jazz FUNK/”Mothership” Cosmic FUNK)
Original Cosmic Funk 1970s.
JUST ANOTHER PASTICHE. One mainstream “music writer” the type of which I described above from a world famous music magazine claimed that this song had “acid jazz like” keyboards in it. Really? Ask him where? I don’t have a clue what so called “acid jazz like” keyboards are as I don’t know of any Black music genre called “acid jazz”. I know who Bernie Worral is though. This is a long track with different elements to it. All of which I recognise from my era so lets pick it apart. I will provide you with plenty of 1970’s Psychedelic Funk recommendations……
The intro
In the intro we’re deep in the 1970’s. It’s that futuristic space age synth every 70’s kid remembers . Rollerball, Towering inferno & Jaws, were some of the big Films in the era we are talking about. The Moon landings were taking place at the time and we were waiting for the first pictures of Mars from the Viking probes. This was a very exiting time. We were told that we would be taking holidays on the moon by the 1990’s. Then Never a straight answer (Nasa) decided to go round and round the earth in circles with the space shuttle instead but that’s also just another story. The 70’s synth has been around since the early part of the decade but now it was getting ever more present. Watch the party scene in Rollerball and you will feel the synth of this pre-disco mid 1970’s time period. The “greasy” synth sound, the funky worm. The psychedelic sound of Roy Ayres, Billy Preston, James Mason, Bernie Worrel, (Parliament-Funkadelic), Kool and the Gang’s (Summer madness) employed on (Space cowboy) and many others was gradually becoming more widespread in the funk.
The Intro comes over like (Everybody loves the sunshine) and the intro of (No Stranger To Love) by Roy Ayres but there are countless examples of this intro in the 1970’s. The Brothers Johnson (Tomorrow), Graham Central Station (‘Tis your kind of music) and others listed below. The background noise/atmospherics sound like Pleasure’s (Jammin’ with Pleasure), but again there’s many others like Heatwave’s intro to (Gangsters of the Groove). Lonnie Liston Smith employed similar atmospherics on many of his songs. Herbie Hancock as well. This is straight 1970’s psychedelic FUNK. There is nothing here invented 20 years later here in London England in the 1990’s by Gilles Peterson or Jamiroquai called “acid jazz”.
The groove changes…. The creeping bassline starts up, I remember that “smack clap” and silence from somewhere in the 70’s. The bassline changes to what sounds like Herbie’s (If you’ve got it you’ll get it), but again there are loads of similar bassline’s in the 70’s and 80’s like Ingrams (DJ’s Delight). There’s a bassline that sounds exactly the same but I can’t remember it. It might be Roy Ayes again……. The drums in the background sound like Rose Royce on (YoYo), or the Commodores on (Cebu), again there are loads of similar Funk drum patterns in the 70’s and 80’s coming to us from The Godfather James Brown. Nothing new. ….The Vocal style sounds like Gwen from (Rose Royce) Now a “London Girl” I’m proud to say. The horns in the background sound like Bernard Wright in the chorus of (Spinning) or (In Time) by Earth Wind and Fire…..
……The groove now mimics Original Cosmic Funk. Legitimate writers on Black music who know Parliament Funkadelic can hear this a mile away. Bootsy Plucking away on the Bass with Bernie’s keyboards in the background ala (Hollywood squares) and many other tracks. Also check out the synth on Quincy Jones (Body Heat) this is classic 1970’s synth so anyone who claims this is “Acid Jazz” like Keyboards invented by a London record label in the 1990’s because they have never heard of any of these artist doesn’t know what they are talking about..
……The lyrics sound like they come from Grand Master flash and the Furious 5’s (The message) “Stop don’t nobody move” equates to “nobody make an effin move” and “Turn stick up kid now look what you gone did” equates to “stick up kid”. Those lyrics appear towards the end of (The message). And come to think of it the Bassline sounds a bit like (White Lines) by Grand Master Melle Mel and the furious 5…. When the horns begin to rise the groove speeds up and we’re into Roy Ayres Territory. (Virgo).
Full stop… and then what sounds like Bobbie Humphrey or Hubert Laws on the flute. or something from Lonnie Liston Smith that I can’t remember. The groove ends like Jack Mc Duff (Electric surfboard) or Jeff Lorbers (Tune 88) which came a bit later. If it’s based on a particular track then I’ve never heard it. Just another story sounds like just another Pastiche. A pastiche of mid 70’s Jazz Funk. So perhaps mainstream music writers can tell you what part of this track contains a Black music genre called acid jazz. Take a listen my my breakdown and immerse yourself in FUNK. Accept no substitutes as Pleasure said during this era…..
Lets see if we can find any of this “Acid Jazz” genre invented by Former Invicta FM pirate Radio DJ Gilles Peterson shall we. Which track of this Album features Gilles Peterson’s Genre?
Early 1970’s Funk is one of the principle sounds that Acid Jazz records created here in London in 1988 claim credit for. They have created nothing…..It’s Just another story.
Just Another Story
acid jazz
(1970’s Jazz FUNK/”Mothership” Cosmic FUNK)
-‘-
[Roy Ayres/ Parliament-Funkadelic/ Rose Royce]
Credited to
Jay Kay
[The Intro and build up]
The Brothers Johnson; Tomorrow-[The Chorus]
Pleasure; Jammin’ with Pleasure
Roy Ayres; Everybody loves the sunshine
RAMP; Everybody loves the sunshine (Cover)
RAMP; Daylight
The Blackbyrds; Mysterious vibes
James Mason; Good Things
Roy Ayres lifeline-[Intro only]
Heatwave; Gangsters of the groove-[Intro only]
Roy Ayres; No Stranger To Love-[Intro only]
-‘-
[Bernie Worrel’s 70’s “Mothership” Cosmic FUNK Synth]
PARLIAMENT- FUNKADELIC
(Clinton, Bootsy, Bernie and co..)..
Supergroovalisticprosifunkstication
Night of The Thumpasorus Peoples
Sir Nose D’voidoffunk
Dr.Funkenstein
Hollywood Squares
Quincy Jones (Body Heat)
The Whole Darn Family; 5 minutes of Funk & Newyorking
-‘-
Rose Royce; Daddy Rich
Rose Royce; Put your money where your mouth is.
[The second half of the song]
Herbie and the Headhunters; If you’ve got it you’ll get it
Grover Washington; Knucklehead
Rose Royce; Yoyo-[The drums]
The Commodores; Cebu-[The drums]
Rose Royce; Daddy Rich-[Classic 70’s FUNK singing style]
-‘-
Sly and the Family Stone; In Time,
Grandmaster Flash and the Furious 5; The message-[Lyrics; ”Stick up kid & Nobody move”]
Donald Byrd; Loves so far away-[The Flute and the “full stop” break]
Bernard Wright; Spinning-[The chorus of this track]
*Ske lo; I wish
*Ske lo This comes from outside our era and is a rap track but it uses the old Bernard Wright groove very effectively and that whistle and the wailing in the background give the groove a magical quality. There is an instrumental version as well.
Earth Wind and Fire; In Time
The Blackbyrds; Supernatural feeling
-‘-
[The switch in groove]
Roy Ayres; Virgo
The Brothers Johnson; Thunder Thumbs and Lightning licks
-‘-
[The ending]
Jack Mc Duff; Electric surfboard (Get the right version. Rift appears towards the end @ 04.14)
Jeff Lorber; Tune 88
‘Intro’ Atmospherics (Suggestions) Classic 1970’s “Cosmic Funk” Synth
James Mason; I want your love (*James Worked with Roy Ayres as you can tell)
Lonnie Liston Smith; Floating through space & Space Lady
Johnny guitar Watson; A real mother for ya! (Let that synth hit you)
Graham Central Station; Tis’your kind of music
Brides of Funkenstein; Disco to go (George Clinton)
Sly Stone; Babies makin’ babies
Jeff Lorber: Warm springs
Faze O; Riding high
The Brothers Johnson; Q (A tribute to Quincy Jones)
-‘-
Classic 1970’s “Greasy synth”
Ohio players; Funky worm
Leroy Hutson; Getting it on
Jimmy Smith; Give up the booty
Billy Preston; Space Race
Cameo; Keep it hot
-‘-
So your targets for the Psychedelic groove at the start of the track are people like Roy Ayers, Ramp, James Mason, George Duke, Patrice Rushen, Herbie Hancock, Lonnie Liston Smith, Quincy and the Brothers Johnson, Pleasure and so on. Stay mostly in the early to mid 1970’s. In the 1980’s the drum machine spoils some of the groove but there is still plenty of Atmospherics from The S.O.S Band, Change, BB&Q and many others. See my recommendations for the post Disco sounding albums Synkronised and A Funk odyssey later on.
George Duke; Mothership Connection
[Parliament; Mothership Connection Album]
And there you have it. Straight forward 70’s FUNK. There is no “acid jazz” here because there is no such thing as a music genre called acid jazz.
-‘
Stillness in time
acid jazz
(1970’s & 1980’s Jazz FUNK/Latin)
Basically a remake of Stevie Wonders (Another Star). (If I like it I just do it) sounds like Stevie meets Earth Wind and Fire and so does this. It mimics what I call Stevie’s 1970’s Sunshine sound. It would be cold and raining in here in England in the 70’s then you would hear stevie come on the radio and you would feel as if you were in South America. Stillness in time for me is Earth Wind and Fire style singing harmonies as well as Stevie and there’s an element of David Joseph’s cover of Lonnie Liston Smiths Latin tinged groove (Expansions). David Joseph who came from authentic Brir Funk band HI Tension a band being written out of History by Eddie Pillar and Gilles Peterson, was a big star in the London Underground. (You can’t hide your Love) was a massive hit. The sudden stop/break or whatever they call it nowadays sounds like it’s copied from Donald Byrd on (Love’s so far away) then you get the flute just as on this track. but that appears on quite a few tracks. South American so called “Latin” Soul fusion in the groove of Stevie /EWF Nothing more to add. Listen for yourself.
Stillness in time
acid jazz
(1970’s & 1980’s Jazz FUNK/South American SOUL aka “Latin”)
-‘-
STEVIE WONDER
Credited to
Jay Kay & Toby Smith
Stevie Wonder; Another star & Bird of Beauty
Lonnie Liston Smith; Bright moments
[Brit Funk]-Chris Paul and David Joseph; Expansion’s (1986)-[Lonnie Liston Smith]
Earth Wind and Fire; Running & Brazilian Rhyme
Cameo; Sound table
Gilberto Gill; Palco
George Duke; Brazilian love affair, Brown Sugar & Positive energy
John Lucien; Sunny Day
Roy Ayers; Virgo
[Brit Funk]-Delegation; Singing
Slave; Steal your heart away
Graham Central Station; Release yourself-[Lyrics; “Stop and take a look at what you’re hanging around”]
Azymuth; Mimosa-[The Classic Black Latin sound]
Recommendations
Jeff Lorber Fusion; Lava Lands
Michael Jackson; Don’t stop till you get enough, & Wanna be starting something
Lemar; Dance with you
[Brit Funk]-Phil Fearon and Galaxy; What do I do (Carnival mix) & Everybody’s laughing
T.H.S (The horn section); Lady shine
The Limit; She’s so divine & Say Yeah
George Duke; Yeah, we goin’
[Brit Funk]-Linx; So this is Romance & Intuition
BeBe and CC Winans; Heaven [Elements of the vocals]
SUN; Let your body do the talking
[Brit-Funk] Morrisey Mullen; Brazil Nut
Kool and the gang; Open sesame
Brass Construction; How do you do (Towards the end@ the “national anthem”)
-‘-
Half the Man
acid jazz
(1970’s/1980’s SOUL)
Nothing much to see here. Sounds like a straight forward Patrice Rushen remake. Any old school Patrice Rushen fan will recognise this groove straight away. And any old school Earth Wind and Fire fan will recognise the ending. Notice how none of this appears on Wikipedia, Black America. Yet we are told of the people who apparently “sampled” Jamiroquai tracks. Which were stolen in the first place. You see how they are trying to rewrite History.
Half the Man
acid jazz
(1970’s/1980’s SOUL)
[Patrice Rushen & Earth Wind and Fire]
Credited to
Jay Kay & Toby Smith
Patrice Rushen;
Giving up is giving in,
Remind Me
She will take you down to love
-‘-
Sly and the Family Stone; Can’t strain my brain
[The Ending]
Earth Wind and Fire; Dreams
-‘-
Light Years
acid jazz
(1970’s & 1980’s FUNK Incorporating the Sound of Queens NY)
New York City late 70’s early 80’s. Not London in the 1990’s. This is Tom Browne. This is Queens! Those dramatic plunging basslines, Sekou (Bunch) and Miller (Marcus), the incredible work of a young kid called Bernard Wright (Nard) the impossible combination of Parliamentarian P-Funk and Jazz Funk crafted by old boy Don Blackman. If you want the origins of Jazz-Hip Hop (Another sound being claimed as acid jazz by Eddie Pillar and his mob), Then here is where you should look. No one in this country (England) is responsible for Black American Jazz Rap no matter what anybody connected to infiltrators acid jazz record or their minions claim. If Ive said it once then I will say it another hundred times. NONE of us over here from the 1970’s/1980’s would ever claim that any of these sounds come from this country. The only people who do are Eddie Pillar, Gilles Peterson and their Mob.
Queens was sophisticated, Slick and Jazzy, yet noisy, ‘in your face’ and ‘Street’ at the same time. If Messrs Hancock, Byrd, Miles and the Mizzel Brothers etc started the ball rolling in the early 1970’s Then Tom Browne and Queens brought the era to a close in a most dramatic way with the slick polished sound, chords/harmonies. Queens is about as slick as it got before Synth Funk ruined the Jazzfunk Party. And Miles Davis was right there in the thick of it on Nard’s album. If you remember Funkin’ for Jamaica, (and not a single 70’s or 80’s Funkster doesn’t as it’s one of the most famous tracks in Funk history) then you know the sound of Queens New York. If you know the sound of Queens NY then you will instantly recognise it on (light years).
The groove sounds like it’s based on the template of (Thighs High) by Tom Browne. The bassline and the chorus are easily recognizable and so is the atmospheric background noise which is also employed on Light Years. The incessant “light years” chanting is familiar to any 70’s/80’s night clubber. The Gap Bands (Oop’s upside your head) is probably the most famous “chanting” track of the era. In the UK some called it the rowing song. We used to chant along to groove in night clubs when the Funk began to take hold . You can hear it in the background on some 70’s/80’s Soultrain videos. In America the chant was usually “go ahead.- go ahead” in the UK Funksters adopted Cameo’s (On the one) or Beggar and Co chant of “woho! Woho!” which found it’s way onto (Somebody help me out). Of course the chant came before these records in the nightclubs. You could even hear it at football grounds. The Gap Bands (beep a freak) and the ending of (Oops upside your head) sound like they are fused into light years.
Later in the 1980’s the club chanting in London at least turned into “You wot, You wot, You wot!” which was featured in London Soul DJ Steve Walsh’s (I found Lovin). A cover of The Fatback track of the same name. A massive track back in the 1980’s on both sides of the Atlantic. Bid Steve was a fantastic character and a shocking loss to the FUNK community of old. speaking of Fatback, the chorus of Light years, apart from sounding like (Thighs High) also sounds like, (I like the Girls) from back in the 1970’s. See the connection? The other “beep beep” track of the 1980’s was Public Enemy (Night of the living baseheads).
A few words on rap for the history books. Nowadays in the early 21st Century rap is mainstream. Back in our day it wasn’t. The first rap song most of us ever heard was the sugarhill gangs Rappers Delight. That was the track that broke it into the mainstream. It didn’t really become a thing until the very late 80’s early 1990’s. I want to say a few words about this very important band because they were one of the last of what we called Rap bands before these same serpents infiltrated Hip Hop and began to introduce idiocy with the express purpose of damaging the Inner Cities of America. So whilst over here they infiltrated Black Britain and Black Culture through acid jazz records, over in America they infiltrated the rap scene with people like NWA.
INTERLUDE
Public Enemy
Public Enemy were absolutely massive in the late 1980’s and were one of the last of what I call Intelligent Rap Bands as we used to call them. They were here (in the UK) so much they were almost Londoners. They recorded at least one of their albums here. They preached, self-help and self awareness whilst also reminding people of History. And don’t get what I say twisted either as there were Public Enemy fans of all races. They told People to stop disrespecting Women and calling them the ‘B’ word. which was a stupid (Orchestrated) feature of the late 80’s. This idiocy carried on into the 1990’s of course with this stooopid east coast/ west coast nonsense. Public Enemy told people to stop flashing gold chains and flaunting wealth which is why Flavor flave co lead rapper and the boyz wore a giant clock instead of gold chains which was the deriguour of 80s hip hop attire.
Public Enemy with Spike Lee.
They and others were attempting to raise peoples consciousness before the outsiders and enemies of the Groove took over Rap in 1987/88 and began to use it as a vehicle to do the exact opposite. To promote degenerate idiot gangsta rap to destroy people and communities by promoting drugs, guns and violence. All of a sudden all these new drugs were introduced into their communities and decadent behavior was promoted by this stupid new style of Hip Hop. Calling Women the B word was the final straw for us older Disco kids who were now young adults approaching our 30’s. We could see where this was going, The older groups from the 1970’s seem to as well.. Two important quotes to remember from 80’s FUNK.
Cameo, on Word up
“Now All you sucker Dj’s who think your fly there’s got to be a reason and we know the reason why you try to put on those airs and act real cool but you’ve go to realise that you’re acting like fools.”
While Larry Blackmon is singing those words. Take a look in the background of the video and you will see three guys posing with Run D.M.C style hats on. Run D.M.C were a rap band of the era. Now I can’t say if they were taking a swipe at them in particular or at this new idiot rap culture of the time period, but I think the lyrics tell you what they and many of us older Disco era kids by then in our late 20’s and 30’s were thinking at the time.
And old friends from the 1970’s Slave, now down to four men sang on a track called (Chillin’)
“Smokin, dopin’ doing crack there’s more to life don’t do that.”
At the time Crack was being heavily pushed over in America. People could see that something was being orchestrated behind the scenes but at the time most of us didn’t know about the planned Globalist Police state. Some younger people might wonder why older people don’t like rap. The reason why in general we don’t like rap is because when you grew up with 60’s, 70’s and 80’s Jazz, Funk and Soul you don’t think that ‘talking’ over someone else’s music makes you talented. Write your own music, then rap over it. Then you can be considered to be called talented. James Brown, Parliament, James Brown, The Gap and many other 70’s acts who’s sounds have been rapped over for years wrote their own material.
When we heard tracks like Rappers Delight (Sugar Hill Gang) & Christmas Rapping (Curtis Blow) It sounded different and exotic if you like. It was all done in a light hearted way and was about partying and enjoying oneself. By the late 80’s into the early 1990’s it became ridiculous. Grandmaster Flash and (The Message) was groundbreaking as it dealt with real life. The earlier rap tracks had been Disco but this was done in the new Electrified Phunk sound. The Message was fascinating to listen to and the lyrics in the chorus were brilliant.
There is a famous Disco track called I will survive by Gloria Gaynor. It was a favorite with the Girls as I’m sure many women all over the world a can relate to those lyrics. Likewise for the boys with The lyrics in (The Message) “Don’t push me cause I’m close to the edge I am trying not to loose my head. It’s like a jungle sometimes it makes me wonder how I keep from going under.” I am sure every bloke be he a businessman, sportsman or whoever can relate to those lyrics. They were funny but true and back then some bloke desperate enough to threaten to hijack a plane was hilarious. Come the late 80’s all the fun had gone and in the 1990’s, well forget it. 30/40 years ago these rappers would have been in Funk bands, but the people in charge of the record industry (early 21st Century) have a specific agenda part of which is to dumb down the population. I remember Rick James complaining about Ronald Reagan cutting back funds for music in American schools. Nowadays people like the Jacksons, Prince and even the MOTOWN kids of the 1960′s would have no hope of having a career in the music industry because of the way it’s run. So future generations shouldn’t say the kids of the New Millennium were less talented than we were in the late 20th Century. That is false. You never got to see their generations James Brown, or Stevie Wonder, or Prince because there was no real route for them. Rant over.
Back to light years………As we progress, all throughout the track you can hear what sounds like the intro of Parliament’s (Rumpofsteelskin) looped. The groove is also on the Gap band’s tip so you could say Light years is Gap Band and Tom Browne. The ‘Beep Beep’ is also probably the Gap Band on (Beep a freak). The Gap Band continued at least some of the P-Funk groove in the Electro/Synth Funk era of the 80’s. . So again it’s nothing new. (Forget me not’s) By Patrice Rushen also had the same. There is also a repeating bass riff which sounds like Grandmaster Flash on (Freedom). Or the whistle on Cameo’s (Single Life/Word up). The whistle is from The Good, The Bad And The Ugly. The famous Cowboy Film all 70’s kids remember. With those horns we’re in Roy Ayres territory the lyrics “Now I’ve got that sunshine in my life” is from a Roy Ayers track but I can’t remember the name of it.
The other track to mention is Sly and Robbie’s ( Boops) 1987 which I regard as a tribute to the Queens sound of old. Well it wasn’t that old but 7 years is a long time in 80’s Funk. The Old Queens sound was at the end of the disco era. (Boops) was at the end of the Synth Funk era. It appeared at the same time as Terrance Trent D’arby’s (Dance Little Sister) which I see as the basis for (Hooked Up). That in itself was a tribute to James Brown sound of old. ……What I’m saying is that all these sounds started returning in the late 1980’s. James Brown, Go Go DC, 70’s Jazz Funk and the rest. So if you grew up listening to Jamiroquai and what they tried to convince you was called “Gilles Petersons acid jazz” in the 1990’s, then you were listening to the groove the third time around. This is the sound of Queens mark three. And when you add Public Enemy into the mix (Light years) is basically a replay of what I and all Funksters who were present remember in era remember from 1987. This is a straight forward FUNK track. And anyone who tells you that a track like light years is a music genre called “acid jazz” invented in London England does not know what FUNK is. Now get Funkin’ for yourself below. And you will feel the Funk on these tracks. Guaranteed.
Light Years
acid jazz
(1970’s & 1980’s FUNK Incorporating the Sound of Queens NY)
-‘-
[Tom Browne/The Fatback Band/ Public Enemy & Parliament]
Credited to
Jay Kay & Toby Smith
[The Sound Of Queens NY]
Tom Browne; Funkin’ for Jamaica & Thighs high-(Grip your hips and move)
Bernard Wright; Haboglobatribbin & The Master Rocker
Don Blackman; Yabba Dabba Doo & You ain’t Hip
Rick James/Temptations; Standing on the top (feat. The Punk Funk Horns) (12” Version)
Kool and the Gang; Hanging out (Hear both versions)
-‘-
[Brit Funk]-Sly and Robbie; Boops, (Here to go)
Bobby Byrd; Hot Pants
-‘-
[Beep!-beep!-beep!]
Gap Band; Beep a Freak.-[Beep!-beep!-beep!]
Public Enemy; Night of the living baseheads-[Beep!-beep!-beep!]
Patrice Rushen; Forget me not’s
Parliament; Rumpofsteelskin-[Intro only-Looped throughout the track]
-‘-
Slave; Chillin’
Cameo; Soul Army
Grandmaster Flash and the Furious 5; Freedom
[The repeating “bass-lick” @ 02.00”They call me the kid creole”]
-‘-
[The Chorus]
Fatback; I like the girls
( The lyrics “Now I’ve got that sunshine in my life” are familiar from a Roy Ayres track)
Roy Ayres; Everybody
-‘-
[The Incessant chant]
The Gap Band; Oops upside your head–[The breakdown at the end]
The Gap Band; Gash, Gash, Gash
Cameo; Rollerskates & On the one
(Larry Blackmon/Cameo) LA Connection; Shake it up
[Brit Funk] Beggar and Co; Somebody Help me out
-‘-
[Horns]
Pleasure; Dust yourself down
Roy Ayres & Wayne Henderson; No deposit no return
-‘-
*Heaven is a zillion Light Years away (Stevie Wonder)*
[Other 1970’s/1980’s FUNK Suggestions]
The Cameo Megamix (Two) 1987;
(Feat. Single Life, Attack me with your love, She’s strange, Candy, Back and Forth and Word Up)
Probably the cleverest mix I ever heard. I used to play it endlessly as it saved me having to Que six different singles. These songs were being played literally everywhere back in the mid to late 1980’s. Cameo really shook up the dance-floors of the 1980’s. Yes I preferred the old Bass slap sound from their Cameosis days but they still managed to be Funkiest (Hardcore) band out there. And what was even better was the fact that it was being lapped up by the mainstream public!
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Recommendations
Raphael Cameron; Funtown USA & Lets get it off
Kleeer; Winners (Winners never quit quitters never win)
Trouble Funk: Pump me up
Whodini; The Freaks come out at night
Vaughan Mason Crew; Bounce, Rock, Skate, Roll
Charles Earland; The only one
Mass Production; Turn up the music
Gap Band; Jam the Mother
Brass Construction; Get up to get down & How do you do (What you do to me)
George Duke; Mothership Connection
Kleeer; Intimate connection
The Whispers; Special F/X
Freedom; Get up and dance
Bernard Wright; Just Chillin’ Out [“Please just don’t ignore, what you really came here for”.]
The Blackbyrds; Do it Fluid
Suzanne Vega: Toms Diner
Majik; You gotta get up
Bernard Wrights NARD album is a recommendation for stunning piano work. A groove that should then lead you back to Patrice Rushen’s Jazz Funk albums earlier in the 1970’s.
*Chuck Brown and the Washington Go Go sound are also recommended.
“Tom Brownes” Whicker Rap
“In the last Few years FUNK has become an Industry”
On Wikipedia and all over the Internet Eddie Pillars lie machine will have you believe that Black American Jazz Hip hop is also called acid jazz and came out of London in 1988. As if we didn’t know what NY Queens was in the U.K. So take a listen to Wicker Rap by British band The Evasions from 1981 on Top of the Pops. Now there will come a time when the impact of Tom Browne’s (Thighs High) will begin to wane because you’ve played it a million times. Like many songs if you leave it for a few months and then come back and play it the feeling comes back somewhat but it’s never really the same unless you leave it for about 7 to 12 months. If you can bear to. (Wicker rap) by The Evasions was a comedic take on the Soul Underground of the late 70’s and early 80’s. It features (Thighs High and Funkin for Jamaica). You can’t fight what you feel by Ray Parker and even has a bit of the shuffle groove in the Chorus. Wicker was a famous T.V presenter at the time. And although It was a joke track looking back now it gives a quite accurate description of what it felt like to jam on the Disco Dance-floor back in the era. Some of the hilarious lyrics include;
“Here the tropical sensuous beat makes you want to do things most people could be arrested for. Its not uncommon to find yourself throwing caution to the wind and your self to the floor. The heat an excitement is somewhat reminiscent of a Calcutta sauna! As you can see it’s all too easy to get wrapped up in the Kaleidoscope of sounds. The Hand claps and the Bass throb erotically and the piano tinkles invitingly like so much crushed Ice to a dry martini!
You will also notice how they make reference to some of the Dance floor hits of the time like.. (One Nation under a groove and Give up the Funk ) Funkadelic, (Off the wall, Rock with you) Micheal Jackson, Shake your booty, Guitar Watson, Good times CHIC! (Get Up get on Down) Brass construction, (Boogie nights) Heatwave, “Skake” (From Ain’t We Funkin now) and (Get the Funk out my face) Both by The Brothers Johnson. I think what I liked most about the track though was it’s take on (Thighs High’s) which has to be one of the greatest Jazz Funk tracks ever made alongside the spectacular (Come for a Ride).
I loved how they kept to the groove using that dark moody Keyboard and then slightly changed the Bass. Anyhow listen to the hilarity then from about 0.35 lay back and feel that groove. Then leave this track for a few months. And as I said if you want the origins of Jazz Hip Hop at least in the Public Arena then listen to Tom, Bernard, Don , Sekou, Miller and the Godfather Miles Davis. Never underestimate the contribution of Miles Davis to both original Jazz and Jazz Funk. And never let anyone tell you any of it comes from Acid jazz records based here in London. No one here invented any of these sounds regardless of what anyone in the synagogue of Satan claims now or in the future.
Reggie Blount (You keep checking me)
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Manifest Destiny
acid jazz
(1970’s Jazz, Funk and Soul)
So apparently Jamiroquai claim someone used this “their” song. Well to me this sounds like Stevie Wonder singing over a Hammond Smith track. The bassline sounds like The Commodores (Fire Girl) but the track is darker and less vibrant. What sounds like the Intro of (What is slick) by Pleasure is looped towards the end of the track which as I said sounds like classic Hammond Smith. There might be another track in their maybe from Lonnie Liston Smith but I can’t remember it. Anyhow this is early 70’s Jazz, Funk & Soul. It’s nothing invented or created by Jamiroquai. And remember as you go trough all this plagiarized stuff there is no mention of any of these bands on their album credits.
Manifest Destiny
acid jazz
(1970’s Jazz, Funk & Soul)
-‘-
[The Commodores & Johnny “Hammond” Smith]
(Credited to)
Jay Kay & Toby Smith
The Commodores; Fire girl-[Bassline]
Johnny “Hammond” Smith; California lovers & Gamblers life
Pleasure; What is slick-[The intro is looped]
Pleasure; Plastic People-[Elements of the groove]
Ronnie Laws; Nuthin’ Bout nuthin’
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The kids
acid jazz
(Early 1970’s Rock/R&B)
Sounds like a remake of a Jimmy Castor track. Jimmy is the only act in this document that I don’t in all honesty remember. I either read somewhere or was told that the kids was based on this track. I thought it was Prince. I remembered the bridge as being by Ozone but it turned out to be Faze-O. There is an element of Sly (Stone) in there somewhere I think. So this is American R/B Rock. Ike and Teena, Sly and co. The stuff of the 1960’s and early 1970’s. At a stretch some might call it Gospel but I can’t speak for this sound. What I can tell however that it isn’t anything from this country called 1990’s acid jazz. Its Jimmy Castor.
The kids
acid jazz
(Early 1970’s Rock/R&B)
-‘-
[The Jimmy Castor Bunch & Faze O]
Credited to
Jay Kay & Toby Smith
Jimmy Castor Bunch; It’s just begun
Faze O; Lets Rock
Sly and the Family Stone; Underdog
Prince; Batdance (First half of the track)
Batdance; Prince in a nutshell. This was for the film track of the same name back in the late 1980’s. We start off with a rock track which then switches to the FUNK of James Brown. Prince was largely responsible for bringing Rock and FUNK back together during that time period but it should always be remembered that The Isley Brothers, Mandrill, Osibisa, Clinton/Funkadelic and co were doing it way back. There is plenty of FUNK/ROCK fusion in the 1970’s And these guys built on the legacy left to them by Little Richard, BB King, Chuck Berry and many others form the 50’s and 60’s. Shuggie Otis from the 70’s is a must for Prince fans.
-‘-
So seen any acid jazz yet? Seen or heard anything that you would not have heard in the 1970’s/1980’s?…….Any thing invented in the 1990’s by Jamiroquai? despit the fact that Jay Kay says he doesn’t use any outside influences?
Not doing too well are we Gilles Peterson. Maybe you can tell the public what style of Funk you invented in 1988 that none of us have ever heard of. What sound do you claim credit for?
SPEAK UP GILLES PETERSON WHICH TRACK IS YOUR ACID JAZZ GENRE?
Mr Moon
acid jazz
(Early 1980’s post Disco era “Brit” FUNK)
The buzz of the London Soul Underground. 1981 when the Snow fell.
A sound that any British Soulhead/ Jazzfunkateer remembers. This sound like any other so called Jamiroquai sound has nothing whatsoever to do with Stuart Zender. He did not invent George Anderson of Shakatak. The dark broody bass slap that we did so well and epitomized ‘our’ sound. Of course the Americans got their first. Go back to Roll with the punches by Patrice Rushen to Gap Bands can you feel it, Roy Ayres, Quincy, Patti Austin and Louis “Thunderthumbs” Johnson, the newly formed Aurra from Slave, and many others were doing this sound in the late 70’s and early 80’s. Captain Sky especially. And as you would expect this goes back to Stevie in my opinion. The Groove comes across like The Gap Band Out of the Blue- Can you feel it, To me however this” feels” like Brit Funk. The bass style sounds like Shakatak. Or Tubbsy from Light of the World. Freeeeze, Atmosfear and others were right there as well. This is the stuff the White socks soul boys used to Jam to. Londoners ask your Funky elders. And always Remember those of us who were actually British Soulheads always defer to the American Funk. They were our heroes. All the Brit Funk bands are still around so ask them. You won’t ever hear any of us 70’s/80’s Funksters claim that we invented any of these styles of Funk. Ever. We just did it in our own style. And Stevie is the architect of this moody groove.
Mr Moon
acid jazz
(Early 1980’s post Disco era “Brit” FUNK)
-‘-
[Gap Band/Shakatak/ Incognito//Captain Sky]
Stevie Wonder
Credited to
Jay Kay, Toby Smith & Stuart Zender
The Gap Band; (Out of the Blue) Can you feel it
[Brit Funk]
(Not a genre. Just our bands playing American Soul of the era)
[Brit Funk]- Shakatak; Invitations, Taking off, Down on the Street & Dark is the night
[Brit Funk]- Incognito; North London boy
[Brit Funk]- Freeeze; Southern Freeeze
[Brit Funk]- Loose Ends; Lets Rock
[Brit Funk]- Shakatak; Mr Manic and Sister cool
[Brit Funk]- Cache;’ Jazzin and cruising (Living for the FUNK!)
[Brit Funk]- (Incognito) The Warriors; Destination
-‘-
Other 1970’s/1980’s FUNK Suggestions-On the other side of the Atlantic.
Captain Sky; Moon child- [The “Aaahhh’s” in the background]
Roy Ayres; Don’t stop the feeling
The Brothers Johnson; I came here to party
Bernard Wright; Move your body
Quincy Jones (feat. Patti Austin) Betcha wouldn’t hurt me
Aurra; Just a little Love, Coming To Get You & Are you Single
The echoing bass. The sound of early Aurra was spectacular and they of course went on to become very well known among both Funksters and mainstream music lovers of the 1980’s. Some of their sounds like (Just a little love) recommended above had a distinctive groove. It felt lighter more airy as if it was recorded in a large Hall. The combination of the echoing sound with the bass slap, the dark mysterious synth and all those noises going on in the background made their sound irresistible. Especially to us bass slap freaks. Brainstorm used this technique as well.
The London Soulheads who were into our Britfunk Bass slap bands like Atmosfear, Light of the world, Incognito , Level 42, I level and so on loved Aurra. We had grown up with the power of SLAVE basslines in the 70’s and this offshoot of the band expanded on their groove. Taking it in a lightly different direction yet maintaining the same feel. Starlena and Curtis’s vocals worked brilliantly together. I feel a lot of their style in the sound of early Loose Ends though Loose Ends were formed around the same time if I remember correctly. They just hadn’t become famous yet. The singing style of Loose Ends was similar. Both Aurra and Loose Ends kept their own groove and didn’t go synth crazy.
Patrice Rushen;
Roll with the punches-1970’s
Get Off (you fascinate me) 1980’s
A nice example of how well Patrice changed with the Times
Roll with the punches was a stunning bass slap track from her Jazz Funk days. Hear how Her and her writers she pulls off the same dark moody style with Keyboards in the Electrified Phunk era with (Get Off-You fascinate Me). That piercing synth combined with the bass slap and the high hand claps . (Borrowed Love) by the SOS Band was in the same dark menacing storm covered groove, all that was missing in the background was howling winds and the odd clap of thunder. (Borrowed Love) is a groove that goes back to Stevie Wonder (Every Time I See You I Go Wild) in 1967. At least that’s the earliest that I know of. Hear the intricacy of the chords in the chorus of that groove. Feel the competing, clashing sounds as loud as you can. Without disturbing your parents or the neighbors of course! I used to love that ‘clashing sound’ with all those noises going on in the background. (Celebrate) Earth Wind and Fire , (Let the music play) by The Dazz Band, (Thighs High) Tom Browne and the beginning of Pleasure’s (Jammin’ with pleasure) are other examples. I don’t remember too many more sadly and it was something I looked for. EDIT: The SOS Band (Sands of Time) album would be a recommendation and you can also check my recommendations for Butterfly. Slave and former band member Steve Arrington used those echoing keyboards on some of their tracks in the new 80’s Synth Funk era still utilizing the Bass slap. Whatever people say about the 80’s as opposed to the 70’s the Bass and synth was a powerful force in the 80’s. (Fantastic Voyage) or (Relationship) by Lakeside hit you.
Steve Arrington; Way Out & You meet my approval
SLAVE; Shine & I like your style.
Aquarian Dream; You’re a star
Manhatten Transfer; Spice of life
Slave; Spice of Life
Witney Houston Love will save the day
Visual; Somehow Some way
Earth Wind and Fire; All about love-[The “Aaahhh’s” in the background]
This album comes highly recommend for true Funk historians and those who wish to understand the vast array of talent that we had here in underground London at the start of the 80’s. Sadly these bands got next to no airplay except on Pirate Radio and never got the exposure they deserved. And when you see your Loose Ends, Soul to Soul and others topping the charts later on in the decade this is the community they came from. The old tight nit underground Soulhead community where many of these guys and gals knew each other. This compilation album is one of the if not the best I have seen. British Jazz Funk at it’s finest. Its straight Jazz Funk and It’s one to show people when outsiders and bandwagon jumpers claim these sounds are called ‘acid jazz’, the invention of a DJ who has never had a hit in his life. Gilles Peterson has nothing whatsoever to do with any of these sounds and was just a pirate radio jock when we were jamming to these grooves
The old “Brit Funk Bass slap” 70’s/80’s (Our specialty)
“No CHIC no disco, No bass no Brit Funk”
Now lets Come back over here to London Town and feel the quality of our Bass slappers. When you hear 1990’s and New Millennial youtube “music experts” waxing lyrical over Jamiroquai’s weak, plagiarised copies of other peoples basslines. Or proclaiming Stuart Zenders weak copies of other people basslines as being some sort of work of genius. The direct them to the quality of Authentic 70’s/80’s Disco /Post Disco era Brit Funk. As the old saying goes no CHIC! No Disco. Well I say No bass no Brit Funk. The Bass slap was an integral part of our disco/post disco sound. We always say Brit Funk died in the post Disco era, but in all honesty Level 42 , Shakatak and others kept the old Brit Funk sound going through most of the 80’s. I wish Light of the World hadn’t broken up and Freeeze stayed with their signature Bass slap sound. Never the less we still have a great legacy of FUNK to recall. Now feel these grooves….
AUTHENTIC BRIT-FUNK!
Second Image; Fly away
Light of the World; Soho & Time
Olympic Runners; Interference Free
I Level; Give Me (From Light of the World)
The Cool Notes; Look what you’ve done to me
Atmosfear; Xtra special & Interplay
Billy Ocean; Calypso Funk
The Inversions; Loco Moto & Mr Mack
Morrisey Mullen; Life on the wire & Come and get me
Freeeze; Flying High & Hot Footing it
Loose Ends; Tomorrow
Intrigue; I like It
The UK Players; Rivers
Delegation; Dance Like Fred Astaire
Incognito; sunburn
The Breakfast Band; LA 14
Kandidate; What Are You Gonna Do
Linx; Throw away the key & Rise and Shine
Level 42; Sandstorm & The chant has just began
(Incognito) The Warriors; Drive
Spectrum; Takin’ it to the top
Direct Drive; Don’t depend on me
Shakatak with Al Jarreau; Day By Day
First Light; Don’t be mistaken
Indeed don’t be mistaken. And don’t be mislead by any one in the future who tries to tell you that these sounds have anything to do with an infiltrator record label created in the late 1980’s, just because they print the words this is acid jazz on the CD covers of mixes containing Brit Funk. This is a Disco /Post Disco Era sound. It is not the invention of a DJ called Gilles Peterson who has never had a hit in his entire life and is irrelevant to us. (Most people don’t even know who he is despite his attempt to try and appear relevant in our culture. He has nothing to do with Black Britain, Acid Jazz records have nothing top do with any of these sound. For you Bassslap freaks there is plenty more tracks in my recommendations for Space Cowboy.
[Shakatak; Night Birds Album]
[Joey Negro; Backstreet Brit Funk Album]
Stevie Wonder
Stevie Wonder; Every time I see you I go wild (1967)
High Inergy: Everytime I see you I go wild (1978)
Brainstorm; Every time I see you I go wild (1979)
The S.O.S Band; Borrowed Love (1986)
-‘-
SCAM!
(“Should I lie should I steal should I care”)
acid jazz
(1970’s/1980’s FUNK/Latin)
We’ve Got A Scam
Spoken like a true thief. A scam indeed. The metaphysical admission is in the title as well as the lyrics. The Intro sounds like Idris Mohammed’s (Power of Soul) some of the keyboard sounds like Marvin, then we are in Al Hudson territory. There’s a kind of ’emphasis’ in the groove which sounds exactly like Roy Ayres on the (Fever album). The Chorus is blatantly copied from JAM by Geoffrey Osbourne. It just replaces the word Jam with SCAM! Listen to how they try to disguise and dance around the groove in the chorus of Scam. This is classic plagiarism. Listen to the two choruses back to back. As the track draws the ending of Garden Party by Mezzoforte complete with the horn. So just like all the Jamiroquai tracks this is a pastiche of other peoples music. A Scam in their own words. And notice the way he keeps singing “we’ve got a Scam”. As if to mock and rub it in. Nasty little satanic serpent that he is.
SCAM! (“Should I lie should I steal should I care”)
acid jazz
(1970’s/1980’s FUNK/Latin)
-‘-
[Al Hudson/ Roy Ayres/ Atmosfear/ L.T. D/ Mezzoforte]
Credited to
Jay Kay & Stuart Zender
[Intro]
Idris Muhammed; Power of Soul-[Intro Only]
Marvin Gaye; After the dance-[Instrumental version]
Stevie Wonder; You got it bad girl
The Reddings; Main nerve
-‘-
[The Groove]
Al Hudson and The Soul Partners; Spread Love-[Long Version]
[Brit Funk]-Atmosfear; Dancing in outer space-[The groove & horns]
T-Connection; Saturday night-[Elements of the bassline towards the end of this track]
Kool and the Gang; Morning Star-[The horns]
(Pop music)The Buggles; Video killed the radio star- [Vocal style]
-‘-
[Chorus]
@”Scam people say that it’s the way to stay a live, Now we’ve got a scam!”
LTD; JAM
Marvin Gaye; After the dance-[Instrumental version]
-‘-
[The Switch in the groove]
George Duke; Look what you find & Positive Energy
Earth Wind and Fire; Win or loose
-‘-
[Ending]
Mezzoforte; Garden Party
-‘-
Rose Royce; Do your dance- [Elements of the strings]
Lamont Dozier; Help Is On The Way
Cameo; Pretty Girls- [Vocal style]
Roy Ayers; Change up the Groove
[Brit Funk]-Loose Ends; Mr Bachelor- [Elements of the vocal style]
The vocal style of SCAM also sounds a bit like Rick James.
[Roy Ayres; Fever Album 1979]
-‘-
Journey to Arnhemland
acid jazz
(Early 1970’s Experimental Jazz FUNK)
Brit Funk. The Olympic Runners or the groove of (Love so fine) by SAHARA also a big hit in the States, overlayed with the didgeridoo and Keyboard’s from Marvin Gaye. I think there’s a similar Roy Ayres track out there but I’m not sure. It comes over like one of Herbie Hancock or Miles Davis’s experiments in the early 1970’s.
Journey to Arnhemland
acid jazz
(Early 1970’s Experimental Jazz FUNK)
-‘-
[Sahara & Marvin Gaye]
Credited to
Jay Kay, Toby Smith & Wallace Buchanan
[The Intro]
Marvin Gaye; After the dance [Instrumental]
Sir Paul McCartney; Wonderful Christmas time
-‘-
[The Groove]
[Brit Funk]–Sahara; Love so fine
[Brit Funk]-52nd ST; Tell me how it feels
NOTE; 52nd Street. I have seen you tube experts credit this sound to producer Nick Martinelli. It is not Nicks sound it’s a standard mid 80’s Synth Funk sound and it came from The Americans. Jimmy Jam and Terry Lewis to be precise. The S.O.S Band and Change had this sound before we did. (Hanging on a String) by Loose Ends was based on their sound. Though Loose Ends had many other original sounds which saw them match the finest across the pond in terms of popularity.
[Brit Funk]–Olympic Runners; Paco paco wawa
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Stevie Wonder; Have a talk with God
Patrice Rushen; Razzia
Herbie Hancock; The Hornets
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[Keyboard running through the groove]
Al Hudson and The Soul Partners; Spread Love–[Intro only]
Herbie Hancock; Twilight clone
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Similar Groove [Other 1970’s/1980’s FUNK Suggestions
Tom Browne; Bygones
The Mac Band; Roses are red
Brass Construction; Can you see the Light
Krystol; After the dance is through
Bobby Nunn; Private Party,
One Way; Pop what you got, You can do it & MR Groove
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Morning Glory
acid jazz
(1970’s/1980’s FUNK/-with South American so called “Latin” style vocals)
STEVIE Again. Thistrack apparently was used by Missy Elliot. Except it was Stevie Woner who created this track NOT Jamiroquai. It sounds like a remake of (Visions) Loose Ends recaptured that atmosphere in the 80’s on (Choose me rescue me). So yes Stevie Wonder. Not much else to add apart from the fact that Missy Elliot should ask for her money back.
[STEVIE WONDER]
Credited to
Jay Kay & Stuart Zender
Stevie Wonder; Visions
Stevie Wonder; If it’s magic
John Lucien: Rashida & Lady Love
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[Brit Funk]-Loose Ends; Choose me rescue me
Patrice Rushen; Wishful thinking
[Brit Funk] Phil Fearon and Galaxy (Carnival mix); What do I do
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Space Cowboy
acid jazz
(1970’s FUNK/Cosmic FUNK/Two step)
Now this is the track which has 1990’s “music experts” writhing on the floor and frothing at the mouth over the miraculous bass in the chorus. They seem to think it’s a work of genius. Well now you know the quality of 1970’s/1980’s Bass slappers you know different. When you look at some of the write ups given to this track it will become apparent to you just how little the music writers of the 1990’s knew about Origional 1970’s/1980’s FUNK. One zooom and two plucks is a work of genius!? Has these guys ever heard of The Brothers Johnson, or Cameo, or Slave or Aurra? Nope.
Follows a familiar pattern, known to any 1970’s Funkster. The innocent inauspicious beginning then the Funky Chorus, The Ying and Yang. Like ( I’aint gonna bump no more) Joe Tex, or (Can you handle it) by Larry Graham. Listen to the aptly named (Satin SOUL) by Barry White & The Love unlimited Orchestra. See how it goes from the lush Orchestral sound into James Brown and then back again. And note that track was in 1974, way before the Disco era of the later 1970’s. That Is why the likes of Barry White and Gambel and Huff are the Inspiration for the Disco era sound which I speak a bit more about on my Synkronised review.
Back to Space cowboy and some call this Stevie Wonder but to me this is basically Ronald Isley & Parliament. The Funk famous Synthesizer riff from Kool and the Gang, a familiar chorus from Parliament (No Head no backstage pass) and Bootsy’s (Bootzilla). The singing style is familiar to any Isley Brothers fan. “Ahh haa yeah” got to be Ronald Isley on (Summer Breeze) and (Coolin me out) for example…..At “you and I” we go into the Two Step groove and what sounds like Renee and Angela or Gwen McRae, then Parliament close the track. So as I said it Sounds like the mid 70’s collaboration between The Isleys and Parliament.
The chorus lacks the percussion bass slap of the time period. Larry Graham, Louis “Thunder thumbs” Johnson, Jermaine Jackson, Nate Miller and so on. They could “play the drums” on the bass at the same time. Here we have as I said Just a zoom and two plucks. The drums do all the work in the chorus! Kool and the Gangs synth rift is the most memorable part of the groove, though some might interpret it as Glide by Pleasure. Either way it’s a toned down pastiche of familiar 70’s Funk grooves. I have absolutely no idea why people seem to think that Space Cowboy is some a work of genius. The again there was not much Funk around at the time and as I said many of these people knew nothing about 1970’s/1980’s FUNK. Its not like today where you can listen to just about any track you like on the Internet. The Internet was still in it’s infancy and the vast archives of music you get now on places like youtube was not available. It wasn’t until around 2009/10 that THE FUNK was uploaded in any great quantity. I split the song up into it’s component parts and give you many recommendations from Original Funk. I also give you massive list of Bass slappers from our day in Knights of Thunderfunk. These sounds will funk you up. Enjoy.
Space Cowboy
acid jazz
(1970’s FUNK/Cosmic FUNK/Two step)
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[Isley Brothers/ Bootsy & Parliament/ Roy Ayres/ Pleasure/ Rene and Angela/ Kool and the Gang]
Credited to
Jay Kay & Toby Smith
Arnies Love; I figure I’m out of your life now girl
*Isley Brothers; Unknown track
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[The Chorus]
This groove is as old as the hills…
Funkadelic; No head no backstage pass
*Note Jamiroquai even copy part of the vocals.
Bootsy Collins; Bootzilla & In Funk we trust
Pleasure; Celebrate the good things
Rudy Love And The Love Family; Disco Queen [The instrumental version]
The Reddings; In my Pants
Herbie Hancock; The Traitor
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The Brothers Johnson;
Right on time,
Mista’ Cool
Thunderthumbs and Lightning licks,
Dancing and prancing,
You make me wanna wiggle.
The combination of the Bass slap and those haunting psychedelic 70’s FUNK harmonies make the Brother’s Johnson the stand out band when it comes to this groove. Though Pleasure who never got the airplay that they deserved back then were right there too.
*Donald Byrd; Thank you for funking up my life
*I would have bet money on this track being the Bothers Johnson but it wasn’t!
Jermaine Jackson (Of the Jackson Five);
Let it Ride,
Bass Odyssey,
Lets Get serious.
*It shouldn’t be forgotten that Jermaine, as well as a being a brilliant singer was also a master of the Bass Player. Michael may have been the showman, but Jermaine had super talent and great songwriting skills. He produced bands in the 1980’s as well.
Johnny Gill; I love Makin’ music
[Album Version Chorus]
Sly and the Family Stone; In Time
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[Synthline]
Pleasure; Glide-(Most relevant part copied from towards the end of the track)
Kool and the Gang; Summer madness. [Used in space cowboy remixes]
(Get the right version with the synth towards the end of the track. Its identical.)
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[The Two Step Groove]
Two step was the slower ‘mid tempo’ groove that we used to call Jazz Soul in the 1970’s. Though it must be said that Jazz Soul could be fast as well as slow. Some of Stevie’s earlier music was Jazz Soul. Two step means just that, shifting from one foot to the other as you sway to the groove. Two step makes a big return 10 years later in the mid 1980’s when the groove slowed down for a while. 1983/84.
Rene and Angela; Secret Rendezvous
The whatnauts; Help is on the way
Fat Larrys Band; Act Like You Know
Roy Ayres; Searching
Gwen McRae; Funky sensation
[Brit Funk]-Loose Ends; Gonna make you mine
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Graham Central Station; Can You Handle It
Joe Tex; Ain’t Gonna Bump no more
George Benson; Smoking “Cheeba Cheeba”
Stargard; What you waiting for
The Isley Brothers; Coolin’ me out
Billy Griffin; Hold me tighter in the rain
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Bass Slap Recommendations!
As i’m sure you’ve come to appreciate in this document a lot of music history is being re-written by outsiders who weren’t alive in the original Funk era. Some modern day music “experts” will have you believe that there were about 3 bass slappers in the whole of the 1970’s and 1980’s! completely ignore them, they are not 70’s/80’s Funksters. In our day as any one who played in a band will tell you, just about every Bass player could pick, slap and pop the bass. Rock was and is lead by the Guitar, Funk was and is lead by the Bass and it was the most sought after position in a Funk band apart from the lead vocalist. Everybody wanted to be a bassist and competition was fierce. Ask anyone who was actually there. If you started a band and auditioned for members you’d get loads of bass players turn up. Especially in London.
You had to be special with the bass just to get a look in even if the band didn’t employ the bass slap in their songs. EWF, Kool and the Gang or CHIC!’s style of Soul/R&B/Funk for example didn’t need the bass slap as it wasn’t part of their groove but Verdine, “Kool” Bell and Bernard Edwards could all slap the Funk out of the Bass, almost everybody could do it. Just not everybody did as not all Soul songs suited the Bass slap. The Bass slap didn’t disappear with the violins at the end of the disco era, I It got more popular. There were countless bands in the synthfunk era slapping the bass as you will see from my recommendations below. These are just a tiny handful of some favorites of mine. I have dealt with the Brit Funk bass slap in my recommendations for (Mr Moon) above. Understand the quality and depth of the era below and as ever ask your elders…
The knights of “Thunder Funk” The real gods of 1970’s/1980’s Bass Slap
Michael Jackson; Get on the floor (Louis“Thunder thumbs” Johnson)
One Way; I Didn’t mean to break your heart
(Rick James) The Mary Jane Girls; Boy’s & prove it
(Roy Ayres) 80’s Ladies; Tell him
BT Express; Stretch
Ashford and Simpson; Don’t cost you nothing
Skyy; I can’t get enough
Dazz Band; Magnetised
Narada Michael Walden; You Ought to Love me
George Duke; Overture
KOPPER; Funky bunch of characters
Deodato; Space Dust
Aaron Mills & Charlie Singleton (Cameo)
I lost count of how many bassists CAMEO had. But they were vicious as hell back in the late 70’s and early 1980’s. They returned to The Bass slap sound on the Machismo Album, having conquered the Planet with their synth Funk super hits like Word Up and Candy,
A few favorites….
Your love takes me out
Be yourself
Throw it down
Knights by nights
Soul tightened
She´s mine- (I was happy to hear this on the Synth heavy Word up album)
Soul Army
Shake your pants
Let me groove with you-(Even in the two step period they were immensely Funky)
(Larry Blackmon/Cameo) Mantra; Doin it (To the Bone) & Here we come.
(Larry Blackmon/Cameo) LA Connection; Shake it up
Louis “Thunder Thumbs” Johnson (The Brothers Johnson)
You keep me coming back
Echoes of an era
Ain’t we Funkin Now
The Great Awakening
Party Avenue
This was the last Bros J album I bought. By then the FUNK was getting more and more watered down (1988) Listening to this you would think he was plucking a lead guitar instead of the Bass on (Party Avenue)such were the production values at that time. We the disco kids knew our time was over the new genration was taking over, New Jack swing was starting and the FUNK as we had known it was ending. But what a ride they gave us.
SLAVE
Slave members Mark “Drac”Adams, Steve Washington and Steve Arrington are all legends of 1970’s and 1980’s Bass slap. Explore their albums and their work .
Steve Arrington (Formerly of Slave); Tell me what do you want & Mello as a cello
Slave; i’ll be gone, In n out & OOOHH
Marcus Miller; Sun don’t lie, Lovin’ You & Blast
Don Blackmon; Let your conscience be your guide
Gwen Guthrie; Seventh Heaven
Earl Klugh; Twinkle
The Gap Band; Who do you call
Ozone; Gigollete, Ride & We bad
Lakeside; Relationship & Fantastic Voyage (To the land of FUNK)
Larry Graham; Now do u wanta’ dance
Roy Ayres; Fruit
Sekou Bunch; Pretty Baby
Maxx Trax; Let’s have a party
Change; Mutual attraction
Unlimited Touch; Good Lovin’
Klique; Dance like crazy
Curtis Hairston (formerly of BB&Q)-Chillin’
Rose Royce; Do it Do it
Harvey Mason; Groovin’ You
The Reddings; The Awakening (Sons of Otis Redding)
Aurra; Are you single & Make up your mind, Undercover Lover
(Starlena & Curt’ formerly of slave) Aurra Later became known as Deja
George Clinton; Hey good looking
The Dazz Band; Joystick
Collage; Young Girls
Master Jam; Dancin’ all night
Dayton; One day or another
Con Funk Shun; Touch
Juicy; After loving you
Stargaze; You can’t have it
Lotti G; What it’s worth
September; Love in me
LTD; Together Forever
Wizzard; These are the Eightys
Roy Gee & Energie; I’m for real
Pure Energy; Too Hot
Cardell Funk Machine; Shoot your shot
Tom Browne; Throw Down
Lillo Thomas; Sexy Girl
T.H.S The Horn Section; Anxiety
Vernon Burch; Do it to me & Get up and dance
South Bronx; The bottom line
Kleeer; Tonight
Pleasure; No matter what & Sending my love
Komiko; Feel Alright
Debarge; You wear it Well
Mtume; Prime Time
Johnny Gill; I love making music
Marz; Move It, Groove It
Tyrone Brunson; Space Boy
T-Connection; Time is short
Stone; Girl I like the way you move
Fresh Band; Come back lover
Prince; Alphabet Street & Pop Life
Jeff Lorber; Tune 88
Louis Johnson /Stanley Clarke; Play the Bass
Ray Parker Junior; It’s your night
Sly and the Family Stone; Thank You For Be Mice Elf Again
Brainstorm; Journey to the light
Zinc; This is where the love is
Leroy Hutson; Butterfat (1976)
The Commodores; Mary Mary (1975)
As ever do your own research and you will find 10 times this many Thunderfunk tracks and bands in the 1970’s/ 1980’s Original Funk. You can find the Bass Slap everywhere in 1970’s 1980’s Funk. It was part of the groove. Just because new millennial expert name a couple of their favorite Bassists does not mean that that’s all there were. There were hundreds of brilliant bassists in our era and now you know some of them.
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[The “Two Step” Groove]
When the Funk slowed down. Around late 1983 into 1984 after the Hell for leather post disco period the groove seemed to take a breather. It slowed back down to where it had been almost ten years previous (75/76) Just before things seeded up into the Disco era. Funksters as well as Jazzfunkateers like Patrice Rushen Roy Ayers, Donald Byrd and co were doing this Groove back in the 1970’s and Space cowboy has that feel. These are just a few of the big club hits to acquaint you with the two step groove. I speak more about the Two step period in my Synkronised Review.
Cameo; She’s strange
Rose Royce; Magic Touch
[Brit Funk]-Light of the World; London Town
Keni Burke; Rising to the top
Dennis Edwards; Don’t look any further
Midnight Star; I’m Curious
[Brit Funk] Hi Tension; You make me happy & There’s a reason
Fatback; I found lovin’
Cashflow; Mine all mine
Dennis Edwards (Formerly of the Temptations); Don’t look any further
Roy Ayres; Programmed for love
[Brit Funk] Five Star; Can’t wait
One Way; Don’t think about it
(Rick James) Mary Jane girls; All night long
[Brit Funk] The Cool Notes; Into the motion & Secrets of the Night
The S.O.S Band; No ones gonna Love you & Weekend Girl
Juicy Sugar; Free
Zapp; Computer Love
Collage; Get in touch
The Controllers; Stay
[Brit Funk] Princess; Say I’m your number one [Extended version]
Mtume; Juicy Fruit
Starvue; Body Fusion
Demetrius; If you want to fool around
Patrice Rushen; To each his own
BB&Q; Genie
Stephanie Mills; You’re putting a rush on me
[Brit Funk] Loose Ends; Hanging on a string
[Brit Funk] Soul to Soul; Back to life & Fairplay
The S.O.S Band; Just the way you like it [Album]
So yeah. Those were the real Space Cowboys and Girls. The gods and goddesses of 1970’s/1980’s FUNK. Jamiroquai did not invent any of these sounds in the 1990’s.
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We Getting Down (Live)
acid jazz
(1970’s SOUL)
Weldon Irvine
Jay Kay & Toby Smith
Just a remake of Weldon Irvine’s; We getting down
It was based on Herbie Hancock’s; Chameleon of the same year (1975)
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Space Clav
(1970’s early 1980’s Jazzfunk/Latin Two step)
acid jazz
Unknown but familiar
[Herbie Hancock meets Loose Ends]
The ‘Latin’ Keyboards sounds like Herbie Hancock with the Pipes and Flute from Watermelon Man.
Recommendations
Loose Ends; Just a little Spice
Spyrogyra or Azymuth Bobbie Humphrey
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A Love Supreme; Will Downing (Coltrane cover)
Wally Badaroo; Kiss of the Spider Woman
Brenda Russell; A little Bit of Love
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Betty Davis; [They say I’m Different Album (1974)]
Parliament Funkadelic [Greatest Hits Album]
That concludes a review of The Return Of The Space Cowboy by an AUTHENTIC Funkster. So please feel free to compare my review to that of any other so called Music writers or “expert” who claims this album contains this “Acid jazz” genre that does not exist. Did you find anything called “Acid Jazz” on this album? No you didn’t and the simple reason for that is that it does not exist. It is a serpent myth. What you found was FUNK. What kids called Rare Groove (Retro 1970’s Funk) It is not a music genre called acid jazz or club jazz because Gilles Peterson and Eddie Pillar claim it is. This is why you cannot use Smoke and Mirrors when it comes to Music. You can hear it and cannot be fooled. So now the question is why is Wikipedia telling you that this album contains Funk and Acid Jazz. Who is Actually writing this BS. I think you already know though don’t you.
Now lets remind ourselves of the writing credits. Ask yourself how many of the Real creators of all these sounds appear there. So this is what Jamiroquai want recorded into History. They want people to believe that they are responsible for all this music and that is why they have been on Wikipedia deleting the truth.
Okay so ready for More? Good, lets go onto the next Album Travelling Without Moving and see what a 1970’s Funkster makes of that Album! This apparently according to what they have written on Wikipedia is the best or the fastest selling FUNK album in history! Well if that true then it’s for the simple reason that there was no Funk around at that time. This is the mid 1990’s. The Funk dies in the late 1980’s. This is another Album of replays and retreads so if it is the best selling album in Funk history then it’s the best selling album of other peoples talent. And yes of course I recognise everything on that album click the Link and see for yourself!
Plagiarism-Travelling Without Moving
soulboytales.com 