PLAGIARISM on the Emergency on Planet Earth Album

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jamiroquai’s plagiarism on E.O.P.E…………../

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26 Million albums sold….. of OTHER PEOPLES FUNK RETREADS above are the real artists.

YOU CAN BOTH JAM TO THE BEAT AND DEFEAT THEIR DECIET

THE SOULHEAD TALES-Jamiroquai’s Plagiarism.-A response to Lies by Jay Kay

The list Kay tried to murder me for (Do your Tarot readings on this ugly little serpent).

“Taking  other peoples music that’s  plagiarism.” Say’s Jay Kay of Jamiroquai.

“murderous satanic  FUNK pickpocket and  history’s  greatest plagiarist”

EMERGENCY ON PLANET EARTH-For the music please highlight PART 5 below. The rest details how THE SYNAGOUGE OF SATAN are trying to reshape and alter the history of 20TH CENTURY BLACK AMERICAN/BRITISH SOUL MUSIC through False history censorship and plain disinformation.

INTRO- Websites and People assisting Jamiroquai in CENSORING the truth

1)   THE FRAUDULENT RE-CLASSIFICATION OF SOUL MUSIC BY EDDIE PILLAR

   (1970’s Jazz Funk, 1980’s New Jack Swing, 1990’s Neo Soul rebrended as “acid jazz”)

2)    THE  AMERICAN IN CHARGE OF A PAGE  ABOUT OUR  1980’s BLACK  LONDON !?

    (Gilles Peterson and Eddie Pillars Wikipedia Gate keeper Sock puppet account)

3)  JAMIROQUAI BAND MEMBERS ALSO HIJACK THEIR PAGE AND DELETE COMMENTS

      (They delete their accounts to hide the evidence when I called them out)

4)   THE LATE 1980’s/ 1990’s RARE GROOVE TRIBUTE ERA (The return of 1970’s FUNK)

       (The Background/ Musical environment at the time of Emergency on Planet Earth)

5)  EMEREGENCY ON PLANET EARTH- Jamiroquai’s Plagiarism as I heard it.

             (The Music Jamiroquai claim credit for on their first album)

6 )   A CLUELESS 1990’s REVIEWS- A clueless review of EMERGENCY ON PLANET EARTH

              (By a clueless 1990’s Q Magazine so called “music writer”)

INTRO- Websites and People assisting Jamiroquai in CENSORING the truth

On this site you will find out where Jamiroquai stole all their music from. These are some of the people and the websites who are assisting them in stealing the FUNK assisting them in their criminal activities by suppressing/censoring evidence of their music theft…..

THE SOULHEAD TALES HAS BEEN….Deleted by Lech Mazur of Music Banter

Satanic zionist gang-stalking  and criminal  Lech Mazur (SUE ME IF YOU DARE)  deleted the Soulhead Tales within seconds and then banned the account used to post it. Lech is of course part of the Jamiroquai /acid jazz Daft Punk Cabal crowd. REMEMBER-The globalist serpent controls the media. They are part of their crowd.

Lech Mazur CENSORED The SOULHEAD TALES on Music Banter

Who Sampled Who REFUSED to accept That Jamiroquai Stole Herbie Hancocks Chameleon Bassline……..

Who Sampled who Claim on their Website

“WhoSampled’s verified content is built by a community of over 29,000 contributors.”

VERIFIED BY WHO? EXACTELY?! YOU? THIS WEBSITE REJECTED HERRBIE HANCOCK’S 1975 BASSLINE ON (TOO YOUNG TO DIE) FROM 1993.! inference being that plagisrists Jamiroquai came uop with this bassline themselves/

SO THEY SUPPORT THE LIES OF JAY KAY

Take what you see here with a bucket of salt. Particularily when it comes to Jamiroquais stolen music. Like all these type of Music websites or so called online encyclopedias that spring up and declare them selves to be some sort of arbiter of Music THEY ARE NO SUCH THING. The fact that someone called  Nadav Poraz’ssor his mates on Who sampled who decide what that something is or is not ripped off or whether it should or should not appear on the website is TOTALLY IRELLEVENT.  People have bloody ears and all 19870’s/1980’s Funksters Know that Jamiroquai are a consumate plagiarists. So another example is Virtual Insanity. when you go onto my review for the next Album The return of The Space Cowboy

YOU WILL FIND little or NO REFERENCE TO ANY OF THE FUNK JAMIROQUAI HAVE STOLEN, RIPPED OFF. COPIED OR STOLEN ON WHO SAMPLED WHO……

So below this is the entry for Virtual Insanity…..

Now see that they have 12 tracks whom they claim sampled virtual Insanity. HOWEVER  you will find no reference to the fact that jamiroquai  STOLE  that  track from Stevie Wonder and Djavan Luz as you will. See and Hear in my breakdown for the next album.

The fact that this is not acknowledged on this website is neither  here nor there. So I say again DO NOT  treat this website as though they were some type of  legitimate source of Information particularly when it comes to Black music. Know that there are a whole lot of outsiders who have not a clue about FUNK or who are part of their Globalist network. Remember they are traiined to Infiltrate or own forums. You only need look at the volume of so called music sites cerrying their FAKE

DELETED FROM WIKIPEDIA WHERE JAMIROQUAI HAVE TAKEN OVER THE WEBSITE.

Deleted from Wikipedia by Jamiroquai band members who then deleted their profiles when they were  called  out  on  this site.  They have taken over their  Wikipedia page to delete the truth  just as Gilles Peterson Eddie Pillar and their mob are doing on the ACID JAZZ page.  Have done to push their GREAT THEFT OF FUNK. The cultural appopriation of 20th Century Soul Music bt THE SYNAGOUGE OF SATAN.

CENSORED ON JAMIROTALK

TYPICAL SERPENT DECIET- (She deleted the whole site then changed the URLS to prevent journalists from discovering the SOULHEAD TALES.

She deleted the site to hide the Original version of THE SOULHEAD TALES composed on Jamirotalk back in 2016/2017. She knew exactly what she was doing. All Jamiroquai band members had accounts there

As you would expect from this CRIMINAL mob they are highly organised. However they know they cannot defeat any of the Information I have written here. I know the FUNK! They can lie all they like but thry cannot defeat the truth

The SOULHEAD TALES is Testament of an Authentic Funkster. A document designed to preserve the TRUTH. To give cHis and their fraudulent claims to have written all the music they plagiarised in the 1990’s/2000’s all by themselves.  And also  to defeat  Eddie Pillar and Gilles Petersons GREAT THEFT OF FUNK. The systematic rebranding of 20th Century Soul by the zionist Infiltrators of Black Music and Black  culture Acid Jazz records. At first this was just a list of music designed to assist  1990’s/2000 youngsters in their quest for  1970’s/1980’s original FUNK. Now it is an historical document of Justice.

EMERGENCY ON PLANET EARTH

“Taking other peoples music that’s Plagiarism” -Jay Kay

Then you are histories greatest plagiarist-Kwabena Nkwatia

When you play someone else’s sound and you acknowledge them then it’s a tribute. When you play someone else’s sound then claim you wrote all this music by yourself, claim you don’t use any outside influences then mock as you put it “Black Guys”  for wanting to cover “YOUR”  tunes when you have stolen 99% of this music from so called “Black Guys”  then you are a liar and a thief. 

“YOU STEAL MY RHYTHM AND MY STYLE AND YOU THING YOU’RE GOD!

James Brown  I’ AM REAL (1987)-The return of the Godfather.

Emergency on Planet Earth is the first Jamiroquai album. It’s a SOUL album. What some would call  a Rare Groove (Retro 1970’s Funk)  album consisting of bits and pieces of other peoples  sounds, bass lines, singing styles etc. It robs the grooves and musical signatures of many 1970’s/1980’s FUNK bands. You will find that out  soon enough. It is a retro 1970s’/1980’s Soul album created in the early 1990’s when there was a big return of the old sound. It is not a so called “Jewish” music genre called “acid jazz” invented here in London England  by Gilles Peterson in 1987 . A non existent so called genre which apparently “spread to America”  in the 1990’s as they claim on their Wikipedia. 

A completely false and bogus version of Black Music here in London that wipes from History the people who actually created our Brit Funk/Rare Groove sound. People like The Pasadena’s,  Soul To Soul, Omar Lye Fook and all the others. Neither Acid jazz records  unhead of in the 80’s or Gilles Peterson  are responsible for ANY type or style of Music here in London England at ANY time.  So first lets take a look at how this globalist mob are tryiong to re-write History all across  the Internet.

 

1)    THE FRAUDULENT RE-CLASSIFICATION OF SOUL MUSIC BY EDDIE PILLAR

   (1970’s Jazz Funk, 1980’s New Jack Swing, 1990’s Neo Soul rebrended as “acid jazz”)

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THERE IS NO SUCH THING AS A MUSIC GENRE CALLED ACID JAZZ IT DOES NOT EXIST

WHO SPEAKS FOR THE FUNK? Who are you going to listen to on the topic of  Black Music ?  Authentic Funksters or  Gilles Peterson and Eddie Pillar?  Who told you there is a Black  music genre called acid jazz?  Oh you read it on the Internet  and saw it on the front cover of Soul mixes did you? Well in that case it’s not your fault if you’re a youngster but rest assured there is no such genre and there never was.   I am not asking anybody I’m telling you. All you are listening to is 1970’s/1980’s Jazz , Funk and Soul.  Black American SOUL/R&B does not come from 1980’s or 1990’s  England. I am telling you that as a Brit. 

We played our part in  1970’s/1980’s FUNK as you will come to realise when you delve into THE SOULHEAD TALES however we invented nothing over here.  late 1980’s/ 1990’s Jungle  Drum and Bass then Dubstep are the only genres we can just about claim credit for but even those two genre are based on Jamaican and American sounds that came before.  They are essentially Augmented Reggae Dub with speeded up James Brown era drum patterns and slowed down  Electrophonic Phunk  respectively. Yes they both created a  new atmosphere and a unique digital sound but we didn’t invent anything.  Herbie Hancock had proto Drum and Bass in the 1980’s, Kool and the Gang in the 70’s . Many of these Jungle /drum and bass pioneers were into Reggae/Ragga and Jazz back in the 70’s/80’s.   It ‘s called Liquid Funk because it’s based on the FUNK!  So no British Funkster of our genreation would ever claim that we are responsible for  any type of Black American Soul music. The only people who do are those who know nothing about our era and a record label created by Gilles Peterson and Eddie pillar  in 1987. A record label that is through their disinformation campaign and fraudulent marketing of FUNK now trying to claim they are responsible for  the legacy of Black American  and British 20th Century Soul Music.

THE GREAT THEFT OF 20TH CENTURY SOUL MUSIC BY GILLES PETERSON

BELOW; Serpent lies. There is no such thing as a Black music genre called acid jazz

These are part of a highly orchestrated global campaign being waged against Black Americans/Brits by The serpents (Synagogue of Satan).  The global cult of which they are part of.  Do your Tarot/ Oracle readings on these two and you will see what I mean.  They are trying to use the U. K as a means to steal the legacy of FUNK.  However as their mates in the caucuses who  are orchestrating this cultural myth  have discovered, there are too many of us authentic Funksters over here to dismiss!  Not only that, but a complete record of what happened here in London in the 1980’s in terms of Black Music  is written in stone on the magazines of the time period. So as I keep repeating ,their Smoke and Mirrors can’t work with Music. Music depends on the ears and not on the eyes!

 The dark occultists method of  “keep repeating the same thing over and over again until it becomes fact”  isn’t going to work as it has done over the past two thousand years!  They are trying to rebrand SOUL music of the 20th Century because they think they can fool the youth of the 21^st Century. They are trying to create a generational myth . They think that they can rob the Black Americans of their musical legacy using this country England and France. With 1990’s Jamiroquai and The Brand New heavies as standard bearers of this nonexistent “Acid Jazz” genre and by the same token they are trying to use Daft Punk as standard bearers for what they claim as E.D.M which is nothing more than 1980’s Electrophonic Phunk/Electric Boogaloo.  They are all part of the same crowd.

Jamiroquai didn’t invent Earth, Wind and Fire any more than Daft Punk invented Mandre, George Clinton or  Roger and Zapp.  In the 1990’s Jamiroquai copied all the sounds  and frequencies of 1970’s/1980’s FUNK claimed and STILL claim that they wrote them by themselves. At  then at the same time Eddie Pillar, Gilles Peterson their mob tried to rebrand the Groove as  so called “acid jazz”  by printing false titles on Soul mixes.  Fast forward  and now years later in the 21st century  they are claiming all over the net that “Acid Jazz”  is actually a Black music genre instead of the infiltrator label that it is.  By the same token  their mates in Daft Punk did exactly  the same in the 1990’s with all the Electo-Funk sounds and now they are claiming them as so called E.D.M . And of course at the same time they are trying to wipe from history the REAL 1970s/1980’s creators of British Soul.  The Bands who made our sound famous.

THE AUTHENTIC  FACE OF 1970’s/ 1980’s BRITISH SOUL MUSIC

Black British Soul Bands being written out of the history books by Gilles Peterson, Eddie Pillar and Infiltrators of Soul Acid Jazz Records on Wikipedia and replaced with 1990’s Plagiarists Jamiroquai on Wikipedia

Imagination, Omar, The Pasadens, Billy Ocean, Linx, Five Star, Jaki Graham . Loose Ends, Mark Morrison , Maxi Priest, Monie Love, Soul To Soul are just a few of the world famous British Soul; acts of the era who hacver been wipred xompletely from the history vbooks by Acid Jazz records and their Satanic mob. Who do you think is responsible for Black British Soul Music ? The people who actually created it or satanic criminal Gilles Peterson. A Former pirate radio DJ who has never had a hit in his life and only has a profile because he’s backed by his Satanic mates whom as you know control the music Industry.

On Wikipedia they erase all these bands singers and acts from History. Then Claim that Gilles Peterson “invented” a Black music genre in 1987 called acid jazz. There is no such genre in Black music. All they have done is replace the words Rare Groove with the name of their infiltrator record label then claim that it’s a new music genre called acid jazz.

AUTHENTIC BRITISH SOUL BANDS BEING REPLACED BY 1990’s FRAUDS JAMIROQUAI

1990’s Jamiroquai  do NOT represent British Soul in any way shape or form. They are NOT a legitimate band. They are what we AUTHENRIC FUNKSTERS would call a FUNK tribute band. In that they are playing the sounds of others. Except in the case of Jamiroquai obviously they claim that they write all the stolen music we can hear on their albums.

Click here for 1970’s/ 1980’s AUTHENTIC Britfunk.

Roachford, Jazzie B, Beverly , Omar Lye Fook

THE ACTUAL CREATORS OF 1980’s BRITISH SOUL ARE STILL HERE ASK THEM.

Click here for 1970’s/ 1980’s AUTHENTIC Britfunk.

Regardless of What Gilles Peterson, Eddie Pillar The Synagouge of Satan and the Globalist Media write about Blsck Britain THE ACTUAL CREATORS OF 1980’s BRITISH SOUL ARE STILL HERE ASK THEM.

Below Gilles Peterson . A criminal who has never had a hit in all his life yet is described on Wikipedia as have been responsible both for the sound of Black Britain AND for the sound of Black American Soul created before Acid Jazz records was formed. In 1988.

The Mass re-classification of FUNK by Gilles Peterson and Eddie Pillar

Ask yourself why all theseSOUL MUSIC compilations are being claimed as so called Acid Jazz by this Satanic outfit. No one over here invented any of these styles of Music.

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FUNK claimed as a so called “Jewish” music genre invented by Gilles Peterson. What do you hear on these mixes other than THE FUNK?

WHAT GENRE… THERE IS NO SUCH GENRE AND WHO THE HELL IS THIS SATANIC CRIMINAL CLASSIFY THE SOUND OF JAMES BROWN

 They are NEVER going to wipe Jazzie B and Soul To Soul , Carl Nick and Jane from Loose Ends, Five Star , SADE and all the fantastic U.K Soul Bads of the 1980’s Nor the likes of Delegation, The Real Thing, Hot Chocolate, The Olympic Runners, Kandidate, Light of The World, Second Image, Central Line. Imagination, Linx and all the other Fantastic British Soul bands and singers of the 1970’s/1980’s then replace them with Gilles Peterson and Jamiroquai.  As if they are responsible for Black Britain and for Black American Soul.  They in no way represent us.

These are cultural thieves, enemies of Black culture whom like all serpents masquerade as friends. Wolves in sheep’s clothing who think they can do what they have done for thousands of years. Copy something, adopt its identity then rewrite history and claim to be the originals. They are trying to steal the Legacy of  SOUL/R&B and rebrand it as Acid Jazz/E.D.M. These cultural thieves are front-men for a plan to effectively re-write the History of 20^th Century Soul. Through fraudulent re-branding of SOUL, the suppression of the truth and a massive global disinformation campaign as you can see here on Wikipedia. And not just on Wikipedia.

Yeah that’s right. A London Pirate radio DJ invented the 1960’s/1970’s sounds of Jazz Funk  heroes like Idris Muhammad and Johnny Hammond Smith in 1987.

So now that we have established  the fact that the co-founder of acid jazz records is apparently responsible for all the music you see on so called acid jazz mixes including that of people who were making albums BEFORE he was even born. Let’s see what this musical genius who has never had a hit in his life is credited for.

FUNK…………FUNK and  “Gilles Peterson’s” Acid Jazz? …..says who exactly?

Let’s take a look and some of their CULTURAL THEFT disinformation. On the album in quesrion because according to what they have written on Wikipedia Jamiroquai are playing a Black music genre invented by Gilles Peterson.  Below they claim that Jamiroquai at the time of E.O.P.E were not playing FUNK but were playing so called “Acid Jazz”.  So the plagiarised FUNK of  Stevie Wonder, Kool and the Gang, Curtis Mayfield, Brothers Johnson, Chuck Brown and all the other bands they ripped which appear on this album  were invented by a London pirate radio DJ  called Gilles Peterson! some thing that London Funksters and especially former Invicta FM DJ’s or those other Pirate stations like L.W.R will find highly amusing.

So according to Eddie Pillar, Gilles Peterson and the Synagogue of Satan (who see themselves as the owners of  Black Music and  of FUNK) on Wikipedia and wherever they have cloned their lies, Emergency on Planet Earth released in 1993 contains “strong elements of the mixture of FUNK and “Acid Jazz” genres” REALLY ? Errr….no. It contains what every 1970’s/1980’s Funkster and many who weren’t Funksters can hear.  A bunch of retreads of other peoples music for which Jay Kay and Jamiroquai claim credit .

A mixture of Black American FUNK……….And a music genre invented by an overated  DJ called Gilles Peterson….REALLY NOW! . Ask Gilles Peterson to tell you what type of Black music he is responsible for on Emergency on Planet Earth and on any other Jamiroquai album. And  its Important to remember   that  they claim that  Brit Funk band Incognito from my era as well as the Brand New Heavies are playing this FAKE genre. As well as all the other bands they claim on Wikipedia are Notable “Acid Jazz bands” when they are nothing more than Jazz Funk, New Jack Swing, Neo Soul Bands, Brit Funk and Rare Groove bands.

See above for yourself. They claim that this Peterson “invented” a Black Music genre called “acid jazz” which originated in the London club scene. I was right there and NO -IT-DID-NOT. There was nothing called “Acid Jazz” in the London club scene. There was Acid House. There was no such thing as Acid Jazz or Club Jazz as every single Black music magazine and any AUTHENTIC London Soulhead of the 1980’s will testify. The fact that a Satanic pirate DJ from Invicta FM decided he is qualified to rebrand the music of someone else’s culture does not constitute the existence of a Black Music genre

How they are twisting themselves up with their own Lies and BS!

When you tell so many lies it’s difficult to keep track of what you have said. First it was acid jazz the invention of Gilles Peterson. Then they tried to claim that Acid Jazz was a 1980’s sub-genre of Jazz. No it was not. No such genre existed. Now they claim that Acid Jazz is a form of FUNK separate to, well FUNK but they can’t tell you what it is. Recently they have started to claim that the first three albums are Acid Jazz and the rest are not. So what that means is they are claiming that 1970’s Jazz Funk is actually Gilles Petersons invention even though acid jazz records was created in 1987. And that the post Disco sound of Synkronised, A Funk Odyssey etc are not. Confusingly though they still claim that they are a “Funk and an Acid Jazz” band on their Wikipedia articles for those albums. So Gilles Peterson is responsible for the sound of Synkronised and all the other albums that came later.  Confused? Yeah so are they!  don’t worry,  I will tell you what all the sounds on those albums are as well. They can’t fool me on any of their albums as to what style of music they are playing.  Or where they probably stole the music from.

For  years  their Wikipedia page claimed them as an “acid jazz”  band playing so called “acid jazz”.  After I created the fisrt version of THE SOULHEAD TALES on Jamirotalk and  categotised their entire discography into the correct styles of FUNK they didn’t have a clue what to do! So they came up with the Idea of trying to pretend that Acid Jazz is another type of Black music. A style of Black music “invented”  by frontman Gilles Peterson. A person chosen as the Synagouge of Satans frontman for their GREAT THEFT OF FUNK.

The other obvious problem is this. They cannot tell you what an Acid Jazz track is because there isn’t one. It does not exist. And they can no longer claim that Jamiroquai play this genre because I have CORRECTLY categorised all the songs on their albums, told you where they probably stole them from and given countless examples of songs on the same groove. They have nowhere to hide now but of course the Serpent will never stop lying.  However when they do.  Now in the 2020’s or later on in the mid to late 21st Century  you have this document to shut them down. The will be no confusion. They won’t be able to fool anyone. They know this and that is why they have gone to such lenghts including criminal harrasment to try and supress this Information. So Black America You have been warned.

And as for re-writing Black Music History.  Well there’s  another  major problem with this Satanic cultural appopriation Lie.   If you are going to try and rewrite history then you had better make damn sure that the Historical records such as the  Magazines, Soul charts, T.V shows, club reports  of the 1980’s agree with your lie. Yup, the idiots forgot that Blues and Soul magazine have recorded everything that took place in the London Soul underground and NOWHERE will you hear any mention of Gilles Peterson inventing any Black Music genre at any time. You will find no mention of any such genre called Acid Jazz “Emerging from the London Soul community” either.

HA HA HA! They forgot about Blues and Soul, Black Echoes, The Soul Charts etc!

So who’s version of 1980’s Black Music History are you going to believe? That of the 1980’s Soul Music Publications? Or the BS  Eddie Pillar, Gilles Peterson and his mob have written?

There was no such thing as a genre called acid jazz or club Jazz invented here in London in the late 1980’s or at any time and that is why you will find no reference to this lie in any Black Music publication of the era. You will find no reference to this lie on any Black Music T.V show such as Soultrain U.S or U.K. and neither will you find any reference to this non existent genre in any Club report, single review, album review or in any U.K. or US Black music listing (Soul charts). Cultural appropriation- 100% FUNK-Reclassified by Eddie Pillar as “Acid Jazz”

100% ACID JAZZ? SAYS WHO? YOU  GILLES PETERSON AND EDDIE PILLAR?

ACID WHAT? –  Black Music claimed as acid Jazz ” invernted”  by Gilles Peterson according to Wikipedia. Yeah that’s right  Invicta FM’s Gilles Peterson is responsible not only for the sound of Jamiroquai but of old School Soulhead  Ronny Jordan , James Taylor and even Carleen Anderson!  yep Gilles Peterson  formerly of Invicta FM is apparently responsible for James Brown’s Godaughters sound!. James Brown. The again Gilles Peterson of Invicta FM is apparently The Goffather of Soul according to the syanagouge of Satan so…..yeah.

Now lets take a look at the extent Eddie Pillar, Gilles Peterson and their mob are going to create this GENERATIONAL MYTH. Their attempt to  Rebrand Black American 20th Century Soul Music, wipe Black British Soul of the 1980’s out of history and claim ownership of THE FUNK.

2)    THE  AMERICAN IN CHARGE OF A PAGE  ABOUT 1980’s BLACK  LONDON

    (Gilles Peterson and Eddie Pillars Wikipedia Gate keeper -Sock puppet account)

I N ORDER TO RE-WRITE HISTORY YOU HAVE TO CREATE  A FAKE NARRATIVE CONTROL THE SOURCES OF INFORMATION AND SUPRESS THE TRUTH.

The serpent is very good at this after all they have had thousands of years of practice. Now In order to preserve their cultural theft campaign they have to protect the Wikipedia back story they have created to try and make it look as if this “Acid Jazz”  is some sort of music genre.  They have to preserve the myth that their front man Gilles Peterson is responsible for this “New Black Music genre” which he “Invented” here in London in 1987.  A so called music genre which they hilariously claim “spread to America and went global “Thanks to their signing’s Jamiroquai and the Brand new heavies in the 1990’s. They say if you’re gonna lie then lie big and that is what they are doing.  They are trying to create an illusion which is based on a lie . However it’s a lie easilly destroyed by Authentic Funksters.  And no You Truth speakers

They think people here in London are too stupid to recognise the same 1970’s/1980’s FUNK we grew up with. The same Funk we jammed to in the London Soul underground. The same music we listened to on the Radio and on Soultrain.  They don’t mention details such as the name of a track, single or Album on the aicd jazz wiukipedia page  because they know that someone like me or any London Funkster will tell you what the sound  on the track actually is. Like Jazz Funk , Jazz Soul, Bossa Nova, New York Queens or GOGO DC (The sound of Washington) for example!   They just spout a load of BS/Word Salad then claim that this “genre “ slowly disappeared.  Then they list a bunch of bands and claim they are “Acid Jazz” bands playing a genre invented by Gilles Peterson in 1987. As if Rare Groove is a  music genre Invented by someone from Invicta FM.

THEIR CULTURAL THEFT GENERATIONAL MYTH  IS TARGETTING THE  YOUTH

We (Authentic 70’s/80’s Funksters) know all these sounds but remember they are targeting the new generation who don’t. Those born in the late 80’s and upwards. Those born this century. They are trying to gradually indoctrinate the Planet into believing they are the creators of FUNK. This is what a generational myth is all about. It can take several generations to imbed a non truth into the consciousness of people.  In 50 years time how many people will be able to pinpoint what these sounds are. Well you will and so will your kids because I am telling you what they all are and passing the knowledge onto you.

Their Wilkipedia  page is an absolute tissue of lies. However as I state above  they have to preserve their disinformation in order to make this exercise in Cultural theft work. They know this as well as I do and that is why they brought in a gatekeeper to prevent people from re-editing the page with the truth. So Meet an American……. yes an American Michael Bink Knowles who deems hiself qualified to preside over a page about Black London . And as you will see there is more to this “Wikipedia editor”  than meets the eye.

MICHAEL “BINK” KNOWLES THE CALIFORNIAN WITH 250’000 EDITS RE-WRITING BLACK BRITISH MUSIC HISTORY ON WIKIPEDIA AND GUARDING THE EDDIE PILLAR/PETERSON FAKE NEWS PAGE

Michael Bink knowles- 250,000 Edits- In other words a Sock Puppet account.

Interestingly Michael BUNK Knowles worked at the SATANIC retreat of Bohemian Grove, exposed by globalist Shill Alex Jones.  That says it all doesn’t it. In 2016/2017 we complained to Wikipedia however at the time we didn’t  realise that Wikipedia had been taken over by the Synagogue of Satan ( globalists) who delete anything that doesn’t suit their agenda such as things to do with History and Politics especially.  As the co-founder of Wikipedia once said, he left because “people whom he would describe as trolls” took over. You can read about the shenanigans on Wikipedia on websites like Wikipediocracy  which speak all about these sock puppet accounts with thousands of edits on multiple subjects. 

So we have Gilles Peterson and his mob behind an American from California who is In charge of a page about Black music here in 1980’s London.  Not a British journalists or a credible writer on Black Britain of which there are many . But an American. A man who worked at the satanic retreat Bohemian Grove. And doesn’t seem to know where Essex is. Bohemian grove I hear you say!  yup. That place where  Dark Occultists and Satanic Globalists go every years to “absolve” themselves of their evil deeds.  And make sacrifices to Moloch. A Dark energy being whom you will tell me doesn’t exist.  So you’re beginning to connect the satanic dots.

See below. More info on these sock puppet accounts similar to the one being uses by Acid Jazz Records. Gilles Peterson and Eddie Pillar……

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The other interesting thing is that the original author of this FAKE Acid Jazz wikipedia page gave his address as Oxford University.  Yep OXFORD UNIVERSITYA place know to those of us who know what’s going on as Illuminati HQ. Of course we are all conspiracy theorists aren’t we. There is no such thing as the New world order is there.  No planned Globalist Police state. George Bush senior just said that for fun. Your civil liberties aren’t being eroded daily are they? No globalist communist Police state being implemented all around you. Everything is fine isn’t it? Wake the Funk up. 

Anyhow, Eddie Pillar/Gilles Peterson and Acid Jazz records American sock puppet Michael Bink Knowles tells us……..”Acid jazz is a music genre because scholars say it is and we’re not going to change it because someone from Essex has a different opinion”

When challenged to name and acid jazz track  he could not do so. Knowles won’t answer questions and won’t say what acid Jazz actually is because it doesn’t exist. It should be noted that they first deleted the account used to post protests then  twice tried to band the I.P Address used to post the protests. As you can see above  he also appears not to know that The Biggest SOUL/FUNK  gatherings of the era were Caister and The Goldmine…….In Essex! 

The likes of Randy Crawford, Patrice Rushen, Teena Marie and many other American Soul stars came to Essex in our day. Ask  The likes of  Pete Tong of the  Essex Mafia, Robbie Vincent and Chris Hill what people in Essex know about THE FUNK. You can see some of the bands they have wiped from history on their fake version of 1980’s London in Authentic Britfunk. These are the people who are actually reponsible for British Soul.

BEHIND THE SCENES-THE ACID JAZZ TALK PAGE HERE IS WHERE EDDIE PILLAR GILLES PETERSON AND THEIR CROWD ARE QUIETLY RE-WRITING BLACK MUSIC HISTORY

THE THEFT OF BLACK BRITISH SOUL.  Anonymous AMERICAN’s re-writing the History of Black British Soul Writing Jazzi. B Loose Ends and all the British Soul giants of the 1970’s/1980’s OUT OF HISTORY at the behest of Eddie Pillar and Gilles Peterson.

You are responsible for WHAT SOUND GILLES PETERSON?

p

 Anonymous AMERICAN’s re-writing the History of Black British SoulNote the SATANIC Name- Life Of Tau.

Gilles Peterson, Eddie Pillar and Acid Jazz records are using all the tactics of their globalist Mates to supress and alter Black music history

How the Globalists Have Taken  Over Wikipedia

And as I said above, you can also read about how these sock puppet accounts are being exposed evreyday on Wikipediocracy. That will help upi undertsand the organisation behind this attempted theft of 20TH Century Soul by The Synagouge of Satan.

3) JAMIROQUAI BAND MEMBERS ALSO HIJACK THEIR PAGE AND DELETE COMMENTS

      (They delete their accounts to hide the evidence when I called them out)

Any youngster reading their Wikipedia page will think they are a “legitimate” band who wrote all their own material. They are basically claiming credit for the sounds of  Stevie Wonder , Gambel and Huff,  Earth Wind and Fire, Roy Ayes  and all the other music you see on THE SOULHEAD TALES. Jamiroquai’s plagiarism. A response to quotes (Lies) by Jay Kay. On their Wikipedia page just like on their album writing credits You will find no reference to any of the bands they have stolen from.  You will find no mention of them being pilloried in the many quarters of the 1990’s media for their plagiarism and neither will you find any mention or the contempt they are held in by many 1970’s/1980’s Funksters. The fact they were branded as shameless copy cats or nothing like that. A page they have illegally taken over.  Just like Gilles Petersonand acid jazz records they delete comments and protests on their pages. Taking over your own page is supposedly against wikipedia reulsa as it is considered a conflict of Intrests. But like all criminals they ignore the rules.

JAMIROQUAI BAND MEMBERS WHO HAD BEEN DELETING COMMENTS QUICKLY DELETED THEIR PROFILES AS THEY KNOW THEIR ACTIONS A CAN BE TRACED!

The Universe has a way of exposing people- The guilty parties expose themselves!

Consumate liar and criminal Jay Kay used a deifferent account which is why his account is still thers, but as you can see the other guilty parties all deleted their accounts . This is because I mentioned what they were up to on this website.  Everything you do on wikipedia can be traced. Unless their mob who work with them delete the evidence. Some of them have since created new accounts however we all know who they are!  Jamiroquai are trying to portray themselves to the new generation as a legitimate band instead of the Plagiarists that they are. Writing your own page is against Wikipedia rules. But when you have stolen so much music and you want to give the Masses the impression that you are some sort of musical geniuses then the only way to preserve the illusion you are trying to create is taking over the page and locking it down. 

So younger Funksters, Future Funk historians, and music writers of the new millennium 21^st Century. be very carful in this digital age about what outsiders of Black Culture are telling you about FUNK on the internet. I am sure most of you already know to trust nothing you read on Wikipedia and all the other online so called encyclopaedias’. They can be edited by anyone and when you get a whole bunch of people working in collusion they can essentially write what they like. Acid Jazz records and The Jamiroquai Wikipedia pages are not to be trusted until you see a verified writer on Black Music or an Independent writer in control of the page.  The only thing that you should see on the Acid Jazz page is that this is a record label created here in London by the synagogue of Satan in 1987 that made money out of Black music and is now trying to culturally appropriate it though their fraudulent marketing of FUNK and their page of BS which re-writes Black music history. Until you see Jamiroquai described as what they actually are and what Acid Jazz records actually is then know that them and their mates are still in charge of the page. And that the great theft of FUNK continues.

                         EDDIE PILLARS’ GREAT THEFT OF BLACK AMERICAN SOUL MUSIC

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4)   THE LATE 1980’s/ 1990’s RARE GROOVE TRIBUTE ERA (The return of 1970’s FUNK)

     (The Background/ Musical environment at the time of Emergency on Planet Earth)

So lets take a quick look at what was going on in the early 1990’s and the Rare Groove/ 1970’s FUNK revival being rebranded as so called acid jazz by Eddie Pillar and Gilles Peterson. There had been a big demand for retro 1970’s Jazz, Funk and Soul (Sometimes called Rare Groove) since the late 1980’s when bands like The Pasadenas and Soul to Soul as I have already mentioned brought back many of these old sounds. The Funk had become more and more watered down during the late 1980’s and the sample filled “New Jack Swing” era which began around 1986/87 was the final straw. The Funk as we had known it was more or less dead. In the late 1980’s and into the early 1990’s the pirate radio airwaves of London were once again full of 70’s Funk. People had grown dissatisfied with the 1980’s drum machine and synthesizers. It was time to hear real instruments again. The trouble was no one was really making that style of Funk any more. It was all Techno, Hardcore, Drum and Bass, House and what have you. The groove had split into many different branches so as we went in to the 1990’s the sound landscape was one we hadn’t really experienced before. This was a terrible time for Disco era Funksters.

The giants of our era were gone or playing music catering to the youth. If we wanted to feel the FUNK, there was nowhere for us to go really but back to our youth and the sound of the 1970’s and early 80’s. Neo Soul was happening in America at this time and there was some good music around no doubt but it wasn’t the same for us who had grown up in the Disco era.  Over here in London at least, there was a whole lot of 70’s Funk being played on Pirate radio in the 1990’s. And this was one of the major reasons for the surge in Rare Groove (Retro 70’s Funk) which had began back in the mid 1980’s. Once again you could hear the likes of Patrice Rushen, Herbie Hancock, Roy Ayers, Donald Byrd and the Mizell Brothers sound especially blasting out of windows all over London town. Delegation and Pleasure, the latter whom didn’t really get much airplay in the 70’s were a big hit among the kids of the era. Musically speaking It was like being back in the 1970’s/80’s in some parts of London when you listened into Pirate radio.

The musical landscape changed drastically at the turn of the decade. It was as if the  FUNK shattered into many pieces. There many branches of the groove now.  Drum and Bass, Techno, Trance, House all around in the 80’s became a thing in their own right with dedicated followers The Rave scene was massive with the youth of the era. Note the word rave was used back in the 1980’s and just meant  a party or  a night club. So you would say were going to a rave instead of were going to the club. However the word Rave later became synonymous with what they call rave music. th Neo Soul and gangster crap were beginning over in the States. They also had a 70’s FUNK revival which Acid Jazz records from here in London hilariously claim was Acid Jazz introduced to America by Promoters Jonathon Rudnick and Maurice Bernstein. Part of their little gang as I mentioned earlier. I am not kidding! They claim on Wikipedia that Invicta FM’s Gilles Peterson’s Acid Jazz genre “broke into the mainstream” and was “introduced” to America by Bernstein and Rudnick .   As if the African Americans don’t recognise Earth Wind and Fire, Stevie Wonder on Jamiroquai albums. As if they don’t know what Jazz Funk is and can’t hear their own sounds on so called “Acid Jazz” compilations. This is the story they want written into History! 

So having created their cultural theft vehicle at the end of the era 1987 (The start of New Jack Swing)  It was around this time that Eddie Pillar and his mob started their cultural appropriation campaign of gradueally indoctrinating the youth. Indoctrinating them into thinking into believing all these old Jazz Funk, Soul, Rare Groove sounds were called 100% Acid Jazz. They are still doing it now.  Note they don’t say that this is a Funk mix or a Rare Groove mix. They claim they state clearly on the front vcovers of these mixes that this is acid jazz. So you can see what their intentions were/are. And the fact that they confirm their lies on Wikipedia proves what their agenda is.  As I said the template of fusing the old 1970’s sounds together and playing tribute to the sound of our youth had already been started  by the Pasadena’s with tracks like (Tribute). And by Soul to Soul who brought back the old Cymande (Brothers on the side) Drumbeat also heard on Donald Byrd (Dominoes) via James Brown, fusing it with Temptation, Denis Edwards (Don’t Look any Further). I know what all these sounds are because I heard them the first time around in the 1970’s and the 1980’s. So no one in 1990’s Acid Jazz records is going to fool any of us 1970’s Funksters on any of these sounds!

This album  Emergency on Planet Earth released in 1993 and classified as Acid Jazz by Eddie Pillar is straight forward SOUL/R&B. Its basically a snapshot of some of the Rare Groove and 70’s FUNK sounds that were popular at the time.  Patrice Rushen, Herbie Hancock, Cirtis Mayfield. Roy Ayers etc.  It takes in many of the old 1970’s sounds which were being played on pirate radio stations and in certain clubs in the late 80’s and during the early 1990’s. As you will see from my review there is nothing here or on any of their plagiarized albums called “Acid Jazz”. The only people who claim there is have no knowledge of the Groove and have nothing to do with Black culture.  Any so called “Music writer” or new millennial “expert” who has ever described this or any style of Black music as a 1980’s London genre called “Acid Jazz” simply doesn’t know what FUNK is.

One of The major reason for writing THE SOULHEAD TALES was the blatant lies of Jay Kay. Even thoug he knows he;s a tehif and so do all Funksters  he has insisted over the years that he doesn’t use any outside influences. That’s because he thinks people are too stupid to recognize all the stuff he stole from Stevie Wonder, Earth Wind and Fire, Kool and the Gang etc. I know all these sounds.   He  might have fooled the kids of the era and some in the so called music press of the 1990’s who had never heard of Roy Ayers or who thought 1970’s Cosmic Funk was invented in the 1990’s.Or because they read it on the then newly reinvented internet, but they didn’t fool any of us Authentic Funksters! Nor did they fool any of the LEGITIMATE old school 1970’s/1980’s Soul Journalists. You will find no one who grew up in the 60’s/70’s/80’s ever refer to this music as Acid Jazz. There is no such genre. Believe it or not lots of older Funksters have never even heard of Acid Jazz records.       

Many people claimed it sounded like Stevie Wonder, but there was far more to this album as you will see from my review.  People in the media who called this Just Stevie Wonder or claimed it to be some unique sound are not Funksters. They were not a part of our crowd, didn’t know what Rare Groove was and knew nothing about 1970’s/1980’s FUNK. There is nothing new. unique or innovative on this album or on any Jamiroquai album.  The only people you will heard or will ever hear describe these albums as “Acid Jazz” are people who don’t know the FUNK or those who are part of the International disinformation campaign./

Above,: the real creators of all these 1970’s/1980’s sounds as I see it. And remember Black America. So judge for yourselves using your own ears and not the BS being peddled by Pillars International Lie Machine all across the Internet. Not only can they not name a single so called acid jazz track, because there isn’t one, they can show no evidence for the invention of this fake genre in any Black music publication of the era.

THE SOULHEAD TALES A RESPONSE TO QUOTES BY JAY KAY

Despite the fact that Jamiroquai were derided as copycats and plagiarists by 1970’s Funksters during the 1990’s when they were popular.  Jay Kay of Jamiroquai now claims that he never used any outside influences, that he wrote all this music by himself! So basically he claims ownership of all the music he stole copied and ripped from the likes of Stevie Wonder,  Earth, Wind and Fire, Idris Muhammad and all the other bands you will see Jamiroquai stole from  then wrote their names to. So this Wolf in Sheep’s clothing thinks he’s clever and that no one can recognise where he stole all the music from. So lets see shall we.

THIS IS THE BEGINNING OF THE SOULHEAD TALES.

If you are one who grew up in the 1990’s with the replays and Funk pastiches of Jamiroquai then these sounds will blow your mind. I rarely promise anything. But I promise you Original Funk will take you where you’ve never been before. These grooves will heal your heart and shake your very Soul. Jamiroquai made pastiches of the Funk frequencies of 70’s/80’s FUNK and then tried to claim they invented them and wrote them all by themselves in the 1990’s. In the 1990’s sampling which began back at the end of the Disco Era was the in thing. Rare Groove (Retro 70’s FUNK) was also the in thing in the early 1990’s.

The only member of the band who was an authentic Soulhead was the drummer. The rest were parachuted in by the Globalists. Kay is not an authentic Funkster. He’s a singer who was chosen for the part. If you produce albums like this and then think that no one will recognise the music on them then it means that you don’t know the music on them or where it comes from.  As if we don;t know Stevie Wonder albums or Bootsy Collins or Tom Browne. How stupid does he think people are! Take Synkronised for example where he claims “there is not one thing that he’s taken on the album”. Well if you think that no one knows who Rick James is or who Isaac Hayes is or Roy Ayers or George Duke well then I guarantee you that you are not a real Funkster,

And let’s not forget as I will keep repeating not only are we being told by Jay Kay that he wrote all this music  himself we are now being told that this music is not the FUNK but a “music genre” invented by their mate Gilles Peterson in 1987 called acid jazz. So not only do they think people are too stupid to recognise the music they have stolen they think people are too stupid to recognise, Jazz Funk , Bossa Nova, Electrophonic Phunk, Two Step, Cosmic Funk etc etc when we hear it. Fact of the matter is they didn’t really understand any of these sounds. I know that for a fact as when I used to duel with their “Jewish gang stalking” crowd.I could tell that they didn’t have a clue what any of the sounds were. On Jamirotalk forum they didn’t even know that FUNK a bands were called, Well Funk bands!

Rare Groove is not a music genre called acid jazz just because The synagogue of Satan claim that it is.  I know this Funk and I know the sound frequencies because I heard them the first time round. I was right there on the Disco dance floors of the late 1970’s era and all through the 1980’s. I’m not reciting anything from a book, not sitting anyone else’s sources.  It is my OWN experience of the 1970’s/1980’s and as you can judge for yourself as to whether I am authentic or not by my breakdown of each track and my recommendations of which there are many.  Not just for this album but for all their albums. And what are you going to believe? Your own ears of the BS written by Jamiroquai/ and Eddie Pillar/Gilles Petersons mob on Wikipedia.

So I’m going to go through each track on this album, and dissect it line by line from start to finish and tell you where I think they lifted these grooves from. I will also categorize it into it’s correct style of FUNK. So no one now or in future generations will ever be able to claim the existence of this  FAKE so called  “acid jazz”  genre which is nothing more than Eddie Pillar and the Synagouge of Satan printing this is acid jhazz all over Black Music compilations. I know what all these sounds are because I grew up with them!  Where possible I give you a bit of background information on a particular sound.

Once you discover THE FUNK and find that you vibrate on it’s frequency then there is no going back. The kids loved it as much as we had back in the 1970′ You will feel the feel the ENERGY of  THE FUNK as you go through THE SOULHEAD TALES and you will come to appreciate the excitement the kids of the era felt because you will feel it yourself as you rush to hear the next track in my recommendations. You will be on a high. The second you wake up in the morning you will want to hear some of the tracks again. You will be moved. Its a powerful Energy which is why as I say eksewhere the Serpent who cannot create wants to claim ownership of it.

The original intention of THE SOULHEAD TALES was simply to provide youngsters with music along with a few quotes to help you on your journey. That was it.  I of course had no idea that people would try to murder me for doing so. (Do your tarot readings) Then again back then I had no idea what the synagouge of satan was. Welll now I do. And I’m still here. Now they know who KALI MA is. These are the original sounds of 1970’s and 1980’s FUNK. The Harmonies, the Rhythms, the Basslines, the riffs I offer in this list will improve your mental state when things get tough and will stay with you for the rest of your lives. And don’t forget to listen to the messages in some of these grooves. Especially from Roy Ayers or Earth Wind And Fire. You will come to understand what we meant by the phrase Feel the Funk. I go through the songs one by one. If I know I will tell you If I don’t I will tell you. So enjoy, those of you who came, for the FUNK. Serpents are not welcome.

“WITH THE GROOVE OUR ONLY GUIDE WE SHALL ALL BE MOVED”

Funkadelic. (One Nation under a groove)

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5)  EMEREGENCY ON PLANET EARTH- Jamiroquai’s Plagiarism as I heard it.

             (The Music Jamiroquai claim credit for on their first album)

“Taking other peoples music that’s Plagiarism” -Jay Kay

Well then as I will demonstrate in my work, that makes you the biggest Plagiarist in music History – Kwabena Nkwatia 1976

Kwabena Nkwatia

WHAT TYPE OF ALBUM IS EMERGENCY ON PLANET EARTH

This is a straight forward retro 1970’s Soul album. This is what younger Funksters in the mid to late 1980’s referred to as Rare Groove. There is nothing here called acid jazz or on any other Jamiroquai album. It was “Rare” because it was difficult to get hold of Old school vinyl (Albums/Singles) in that time period. Most of these 1970’s records were out of print in the 1980’s. So you had to hunt far and wide to find that old song you were looking for. That track you heard once in on the radio and never heard again. If you couldn’t find it in an old second hand record shop you often had to resort to asking a specialist store to Import it from The States. Rare Groove was stuff like STAX and Blue Note Jazz or Jazz Funk of the early 1970’s. The old sound before the Disco era started in 75 /76. Disco era music wasn’t Rare Groove as such. As even though you had to sometimes search hard you could eventually get hold of most Disco era albums in the 1980’s.  Or find a mate or DJ who could do you a recording on a cassette tape. However I say the old stuff, unless it was from a big act like Stevie, or Kool and The Gang for example then it was difficult.  It’s not like today where you can get what you want with a few mouse clicks!

REMINDER………

THEY CLAIM THAT JAMIROQUAI PLAY FUNK AND GILLES PETERSONS ACID JAZZ! SO ASK GILLES PETERSON WHAT STYLE OF BLACK MUSIC HE CLAIMS CREDIT FOR!

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As You go through this plagiarised /copied/ ripped  1970’s/1980’s FUNK  remember these are the sounds that  Eddie Pillar and his globalist mob claim were “invented” over here in London in 1988 by Invicta FM’s Gilles Peterson.  And are called “Acid Jazz”. Even though all these sounds predate the creation of Acid Jazz record Label…. And Gilles Peterson has never had a hit in his life…. And there is no style of Black Music called acid jazz…..Well….Let’s see if we can find any shall we.

.Then that makes you the biggest Plagiarist in music History

ASK YOURSELF WHO IT IS THAT IS TELLING YOU BLACK AMERICAN SOUL OF THE 1970”s WAS INVENTED HERE IN LONDON IN 1988…. BY A SATANIC INVICTA FM DJ.

When you gonna Learn

acid jazz

(1970’s SOUL)

Lets take a look at the first track….When you gonna learn starts in the 1970’s with what sounds like the strings of Curtis Mayfield or Roy Ayres overlayed with the “diggi” sound, familiar to those who knew the early pre-disco E.W.F and to Funksters who remember the many ethnic instruments employed in the experimental Jazz funk fusion of the early 1970’s. The Groove itself sounds like a remake of (We getting down) by Weldon Irvine which was based on Herbie Hancock’s (Chameleon) Bassline.

The bridge sounds more like the chorus of (Starfire) by the Sylvers in that it eases in with the horns as opposed to the piano in Johnny Hammond (Los Conquistadores Chocolates) on which it was based I believe. Either way it’s a groove well familiar to 70’s Funksters as other’s employed it on their tracks back in the day like Double Exposure’s (My Love is free) for example.

At the start of the chorus there’s a keyboard riff I recognise from the era. You can hear it on (When it’s love) by Brandi Wells, on (Two Hearts) by Stephanie Mills & Teddy Pendergrass on (Any Love) by Chaka Khan, on (It’s My House) Diana Ross.  So starting a chorus with that “Sigh” is nothing new. As you will come to see there is nothing new, innovative or unique on any so called Jamiroquai album. They are nothing more than a 1990’s tribute band who have stolen the Identity and musical signatures from the giants of 70’s/80’s FUNK. Anyone who tells you any different is either devoid of any knowledge of Black Music or is a liar…

The “Uh huh yeah heh” sounds like a sample from a track in the late 1980’s. The singer is female and she keeps singing those words over and over again. It’s possibly someone like Jocelyn Brown, Vesta Williams or Carol Williams but I can’t remember. Anyone who was in the London House Music crowd of the late 80’s will remember it. Many 70’s Soul Divas were also being sampled at the time so it might have been a sample from a disco era track (1975-1980).

Any how it could have been based on The Brothers Johnson’s (Ain’t we Funkin now). The Horns in the Funk famous bridge just about fit the chorus of (When you gonna learn). The Ohio Players (Fire) also had that in it’s Intro.  Anyway The Johnny Hammond groove carries on looped until the end of the track where what sounds like Bobbie Humphrey’s flute at the beginning of (New York times) finishes the song. The singing Style sounds like Stevie to me. So to any Funkster who was around at the time, (When you gonna learn) sounds like a wispy memory or pastiche of the first half of the 70’s. Stevie Wonder, Curtis Mayfield, Marvin Gaye and the Mizzel Brothers type sound. So When you gonna learn is 1970’s Black American SOUL…. It is NOT an imaginary serpent music genre called acid jazz invented over here in 1980’s London the 1990’s by a record company.

When You Gonna Learn

acid jazz

1970’s SOUL

[Stevie Wonder/ Herbie Hancock/ Roy Ayres/Johnny Hammond/Bobbie Humphrey]

Credited to

Jay Kay

[Intro]

Earth Wind and Fire; Africano-[The “Didji” intro only]

Herbie Hancock; RIMA [-The “Didji” sound]
-‘-

[The Groove]

Weldon Irvine; We getting down

Herbie Hancock; Chameleon-[Bassline]

-‘-

[The Chorus]Johnny “Hammond” Smith; Los Conquistadores Chocolates

The Sylvers; Starfire-[Elements of the horns & chorus]

Double Exposure; My Love is free

[The keyboard “Sigh”]

Brandi Wells; When it’s love

Stephanie Mills & Teddy Pendergrass (Two Hearts)

Chaka Khan; Any Love

Diana Ross; (It’s My House)

-‘-
Roy Ayres; If you love me-[Horns & chorus]

The Brothers Johnson; Ain’t we funking now-[Lyrics;“ Yeah! Uh huh” -“Uh huh yeah heh..”]
-‘-

Curtis Mayfield; (Don’t Worry) If There’s Hell Below, We’re All Gonna Go-[Violins at the end]
[Lyrics; “They are all political actors”– “So politicians this time..”]

Curtis Mayfield; Move on up-[Violins]

Bobbie Humphrey; New York times-[The flute at the end]

-‘-

Spyrogyra; Jubilee

Blair; Nightlife

-‘-

Too Young To Die

acid jazz

(1970’s/1980’s SOUL)

Too Young To Die. Again the intro strings sound like Roy Ayres or Curtis Mayfield. Soul to Soul brought back that sound in the late 1980’s on tracks like (Back to Life) & (Meaning of Life). [And note Acid jazz records claim that this Black British sound of the late 1980’s is called “acid jazz”. It is not. Neither Gilles Peterson or Eddie Pillar have anything to do with their sound or any other Black sound]…..

Freddie was dead in the Curtis Mayfield track so this is Too young to die.  Get the link. We go straight into Bob James and the (Sign of the Times) Bassline, much played on Robbie Vincent’s legendary Radio London Soul show. The Keyboards in the background sound like Roy Ayres. The Stevie Wonder style chorus is introduced with a synth riff from Curtis Mayfield’s (Eddie you should know better). After the chorus we get what sounds like a combination of Roy Ayres and Curtis Mayfield.

We then hear the intro of (My Love) by Earth Wind and Fire which loops itself for the rest of the track. As the strings drop off towards the end, we go into a “Latin” (Black South American) style groove identical to the ending of British Soul legends Loose Ends (A little spice). Stevie Wonders style “do do doooos” brings the track to an end. Pretty straight forward. This SOUL track could have appeared anytime in the 1970’s or in the post disco era (Early 80’s). It sounds like a mish-mash of Curtis, Stevie and Roy Ayres. Bob James starts the track, Stevie, EWF and Loose Ends finish it. All 1970’s Funksters and knowledgeable music lovers will recognize the style of Stevie or Curtis on this track. They were and are both still World Famous even if Curtis Mayfield has left us. This is Black American SOUL. No if’s no buts no maybe’s.

Too Young To Die

acid jazz

(1970’s/1980’s SOUL)

[Bob James/ Stevie Wonder/ Earth Wind and Fire/ Roy Ayres/ Loose Ends]

Credited to

Jay Kay & Toby Smith

Bob James; Sign of the times-[Bassline & Elements of the groove]

Curtis Mayfield; Freddie’s dead-[Groove and Violins]

Curtis Mayfield; Eddie you should know better-[Keyboard @ 0144 “… that’s freezing his mind”]

-‘-

[The Chorus]

Stevie Wonder;- [“Do do do do doo..”]

Too High,

Rocket love,

Ribbon in the sky

Earth Wind and Fire; My love-[The intro is looped throughout the track]

Marvin Gaye; I want you

-‘-

Roy Ayres-[The Horns and Violins]

Gotta Find A Lover,

Third Eye,

You Send Me,

Red Black And Green,

Fire Weaver

-‘-

Recommendations

The Isley Brothers; Voyage to Atlantis & Summer Breeze

Hubert & Debra Laws; Family

The Barkays; You can’t run away

Lukk (feat. Felicia Collins); On the one

Angela Bofill; Holding out for Love

Dynasy; Adventures in the Land of Music

Omar Lye Fook; Music

-‘-

Donald Byrd; Wind Parade

-‘-

[The Ending]

[Brit Funk]-Loose Ends; A little spice-[Long version]

Jeff Redd; What goes around comes around

Recommendations

Listen to these SOUL tracks below and see what it does to you. If you vibrate on the frequency of FUNK then these sounds will move you. And after some of these sounds have washed over you remember that this and all the other frequencies of Funk as well as Soul are being re-classified as Acid Jazz by Eddie Pillar and the synagogue of Satan. They own nothing of these sounds. Whenever you see any style of Black music classified as Acid Jazz see it as an Attack on Black American culture. And remember we Authentic 70’s/80’s Funksters acknowledge no such genre.

SOUL

Stevie Wonder; Superwoman (Where Were You)-[Second half of the track]

Billy Preston & Syreeta (Stevie’s Wife); With you I’m born again

Diana Ross & Marvin Gaye; Stop, look, listen to your heart

Earth Wind and Fire; Fantasy & Imagination

Patrice Rushen; Didn’t You Know

Rose Royce; Love Don’t live here any more & Wishing on a star

CHIC! ; Will You Cry (When You Hear This Song)

CHIC/Diana Ross; Friend to Friend

Cameo; Secrets of time (Don’t cry at the end)

Stevie Wonder; They always start to cry

Michael Jackson; The Lady in my life & Time waits for no one (The Jacksons)

More Examples of SOUL

Music fraudulently claimed as “acid jazz”by Eddie Pillar

SOUL like R&B can be used as an umbrella term for all 20^th Century Black Music. However when you see the term Jazz, Funk and Soul, this is what we call a SOUL track. Essentially a ballad or slow groove sung with Passion. Soulfully. Of course there are literally hundreds and thousands of SOUL tracks of the 70’s and 80’s, not to mention the original R&B (Rhythm and Blues) singers of the 1950’s and the MOTOWN kids of the 1960’s, the older siblings and parents of us 1970’s Disco kids. These are just a handful. Emergency on Planet Earth was marketed as “Acid jazz” so according to Eddie Pillar and Gilles Peterson this sound was invented here in London in 1988.

SOUL MUSIC

Do you seriously think that these sounds owe their existance to a Satanic recod lable here in 1980’s Lonson just because Eddie Pillar prints the words “this is acid jazz” on the front cover of Black Music compilations featuring 20th Century SOUL MUSIC

Dorothy Moore; Misty Blue

L.T.D; Lovers everywhere (Geoffrey Osborne)

Geoffrey Osborne; Wings of love

The Real Thing; You to me are everything

Aretha Franklin; You make me feel like a natural Woman

Randy Crawford; You might need somebody & One Day I’ll fly away

Bloodstone; We go a long way back

Otis Redding; Try a little tenderness

Teena Marie; Portuguese Love

Rick James; Ebony Eyes

Rick James & Teena Marie; Fire and Desire

Barry White; Just the way you are

Cameo; Hanging Downtown

Lionel Richie; Three times a lady

The Commodores; Sail on & Easy

The Commodores; Night shift (Post Lionel Richie)

[British Soul] Sade; Diamond life

[British Soul] Billy Ocean; Suddenly

The Rev Al Green; Lets stay together

Teddy Pendergrass; The whole Town’s laughing at me

Anita Baker; Sweet Love

Witney Houston; Saving all my love for you

Alexander O’Neal; If you were here tonight

Freddie Jackson; Rock with me tonight

Luther Vandross; A house is not a home

James Brown; It’s a Mans World

-‘-

Hooked Up
acid jazz

(1970’s FUNK. Incorporating ‘GoGo DC’ The sound of Washington)

Go Go lite.

Chuck Brown vrs James Brown vrs Roy Ayers

If you were disco dancin’ in 77/78 and I was, then this is one of the many sounds you will remember.

At the very start the Intro re-calls the beginning of (Movin’) By Brass Construction, one of the most popular Funk tracks of the 1970’s. The famous horn section riff makes an appearance later in the track. The intro continues with what sounds like the “Clunk Clunk” of the “Go Go Beat” Chuck Brown and the Soul Searchers (Bustin’ loose) and the atmosphere sounds the same. The lead guitar sounds like the other Go Go giant Trouble Funk or Pleasure’s (Can’t turn you Loose).The singing style then sounds like Terrance Trent D’Arby on (Dance little sister) and I think Hooked up is partially based on that song.

The second Part of the groove has the stutter of Johnny “Hammond” Smith (Tell me what to do) bassline. The Rhythm guitar and underlying groove from Roy Ayres (Cincinnati growl) starts up. …..The groove notches up a bit and I can hear Pleasures (Can’t turn you loose) getting louder……At the bridge as promised Randy Muller’s Brass Constructions Horns from (Movin’) start up…..

The chorus

The chorus arrives and we go straight into classic Roy Ayres (Tongue Power and Brother Green). There’s a bit of scratching in there somewhere but scratching didn’t emerge into the mainstream at least, until the end of the 1970’s and the early 80’s. Then we go back into the groove…… “Bet you wouldn’t dance to the music”. Lyrics similar to Terrance and confirms what this track is probably based on. So there’s your metaphysical admission as I see it.

In the 2nd verse Pleasure sound louder. The Second half of (We Need Love) by Brass Construction is probably in there too. The underlying groove “fast twitch” horns recall The Phenix Horns, (Earth Wind and Fire) from (Getaway) and (Jupiter) …. I can now hear what sounds like Roy Ayres style horns and the “plink plonk” keyboard in there somewhere from (You and me my love). The ending sounds like Jack Mc Duff; (Electric surfboard) or (Tune 88) by Jeff Lorber but there are other examples of that same groove in the 70’s.

So a track like this the sound of 77/78 was being played in the last days of old school Funk. The Barry White/Gambel and Huff style Orchestra has been gaining ground since the mid 70’s and us youngsters were turning away from the stuff of our parents. We wanted CHIC! They wanted James Brown. To many of our seniors, older brothers and sisters who were teens in the 1960’s. 1978 /79 is when the Funk died! To them Disco era Funk just wasn’t THE FUNK. To them the FUNK was as I said James Brown, Hardcore stuff and who are we to argue with the originals! Some weren’t into these sweet Jazzy Disco Harmonies. They wanted stuff like this.

In 1979 The greatest year of the Era the disco Violins go crazy and the Synth starts it’s rise towards dominance. Music will never be the same again. It won’t be until the late 1980’s that James Brown style FUNK becomes popular again thanks to all the sampling of his sound by the emerging new Hip Hop crowd. Hear Eric B and Rakim giving Bobby Byrd’s (I know you got Soul) a Rap makeover. That was in 1987.

So back to Hooked up which is a musical snapshot of a bygone era re-created in 1993. Regardless of claims this is a sound invented here in 1980’s. London called acid jazz . THERE-IS -NO -SUCH-GENRE. These are The driving rhythm’s of Randy Muller’s Brass Construction and BT Express, The Isley Brothers, The rise of Cameo, The rough and ready sound of Roy Ayres, the new sound of Washington the Go Go beat all merged into one. UK based Terrance Trent D’arby played tribute to this particular time period 10 years later when the Go Go Beat also returned in the 80’s London on (Dance little Sister). Around the same time THE PASADENA’S were also paying tribute to the African American sound we grew up with in the 1960’s/1970’s. This is an old sound. Nothing to do with anyone over here in England least of all a record label

This is what Jamiroquai do./did. They create Pastiches of old school 70’s/80’s FUNK then sign their names to it and claim they wrote it. At the same time Eddie Pillar markets these sounds as “Acid Jazz” and we are told on wikipedia that it’s The Invention of Gilles Peterson of Invicta FM. Listen for yourself.  So I repeat Mid to late 1970’s Funk like Hooked up to us 1970’s Disco era kids is ultimately updated James Brown to our bigger Brothers and Sisters, the 1960’s MOTOWN kids. This is a James Brown groove.

Regardless of what Eddie Pillar prints on the front cover of Compilations. Or what their cultural appropriation crowd claim on Wikipedia. It is not a musical genre invented here in London in 1988 ten years later by the co-founder of Acid jazz records. There is no such thing as a music genre or subgenre or style of Black Music called acid jazz.

Here’s the FUNK enjoy these grooves……

Hooked Up

acid jazz

(1970’s FUNK. Incorporating ‘Go Go DC’ The sound of Washington)

–

[Chuck Brown/ Johnny Hammond/Roy Ayres/ Brass Construction / EWF/Jack Mc Duff]

Credited to

Jay Kay & Toby Smith

Terrance Trent D’arby; Dance little Sister [Extended remix version]

Chuck Brown and the Soul Searchers; Bustin’ loose (Go Go DC)

Johnny “Hammond” Smith; Tell me what to do-[Bassline]

Bernard Wright; We’re just the band-[Intro only]

-‘-

[The Bridge]

Roy Ayres; Tongue power & Brother green
-‘-

[Underlying Groove]

Roy Ayres: Cincinnati growl-[Rhythm guitar]

Pleasure; Can’t turn you loose-[Rhythm guitar]

-‘-

[The Horns]

Brass Construction; Movin’

Earth Wind and Fire; Jupiter & Get Away

Marva Witney; It’s my thing-[Intro only]

Roy Ayres; You and me my love-[Horns and keyboard’s]

-‘-

[Underlying Groove]

Trouble Funk; Drop the bomb (Go Go DC) [lead guitar]

Gayle Adams; Love Fever [lead guitar]

Pleasure; Ghetto’s of the mind & I’m Mad-[Rhythm guitar]

-‘-
[The Ending]

Jack Mc Duff; Electric surfboard (The rift appears towards the end @ 04.14)

Jeff Lorber; Tune 88
-‘-

[The Classic Jazz Style of the intro]

Patrice Rushen; Haw right now

Herbie Hancock; Swamp rat

Weldon Irvine; Bananas

Buster Williams; The Hump

Eric Dolphy; Hat and Beard (Original Jazz)

 A whole load of our 70’s/80’s FUNK grooves go back to the 50’s/60’s Jazz of our parents generation. When we were kids in the early 1960’s Jazz was for boring old Men. Come the early 1970’s when Jazz was fusing with FUNK many changed their tune.  Many Jazz bands started to incorporate James Brown style Rhythms into the groove and hired SOUL singers. And thus Jazz Funk and Soul was born. Jazz purists didn’t like it for sure and called the likes of Herbie Hancock, Miles Davis, Donald Byrd and people like them sellouts. However times change and so does Music.

Many giants of 70’s/80’s FUNK  like Earth Wind and Fire, Kool and the Gang or the Dazz Band started off playing Jazz. Kool and the Gang were once called The Jazziacs and Dazz as in (The Dazz band) stands for “Danceble Jazz”. Delve into some old school  50’s/ 60’s Jazz and aquatint yourself with the sound. A lot of these sounds were sampled and copied in the 1990’s by both Jazz and Rare Groove (Retro 70’s FUNK) and bands Especially over here in London. So go back and listen to original 50’s/60’s American Jazz and You will recognise many of the grooves that Eddie Pillar claims as so called “acid  jazz”.  A non existent music genre they claim was invented  here in London in 1988.

-‘-

The Salsoul Orchestra; Getaway (Cover)

Fatback Band; Bus stop

[Brit-Funk]-Hi Tension; British Hustle

Chocolate Milk; Never ever do without you

-‘-

Let’s move onto the next Stevie… I mean track.

If I like It I just do it
acid jazz

(1970’s SOUL)

Stevie & EWF battling it out in the charts in the early 70’s.

Yep Stevie has his pocket picked again. Sounds like a remake of (Anything you want me to do) by Stevie Wonder. This harks back to the early 1970’s and the friendly rivalry between Stevie and E.W.F.  (If I like It I just do it) is basically (Anything you want me to do) merged with (Remember the Children) sped up slightly. There’s what sounds like an element of Lonnie Liston Smith and the Cosmic Echoes (Expansions), a track which they use a lot as you will see. A bit of Africa 70’s- Fela Kuti or Bongo Band type congas, from outside the era bit of 1980’s Hip Hop scratching and bit of Nomad’s Devotion to end alongside Liston Smith. I think the Nomad intro is a sample from the 60’s or 70’s but I’m not sure. This is 1970’s SOUL with a few 80’s Hip Hop (scratching) elements added. This is Stevie Wonder. It is nothing from here in London called Acid Jazz and none of these sounds belong to or were invented byJamiroquai.

If I like It I just do it

acid jazz

(1970’s SOUL)

-‘-

[Stevie Wonder / Earth wind and Fire]

Credited to

Jay Kay & Nick Van Gelder

Stevie Wonder; Anything you want me to do

Earth Wind and Fire; Remember the Children

Lonnie Liston Smith and the Cosmic Echoes; Expansions

Grand Master Flash and the Furious 5; The message-[”Uh huh huh huh”]

The Sugarhill Gang; Apache-[Percussion]

Nomad; Devotion

-‘-

Music of the Mind

acid jazz

(1970’s Jazz Funk/Samba)

Johnny “The Hammond” Smith 1970’s and Forever Taurus.

Johnny Hammond a legend of Jazz Funk being rebreanded as a legend of Acid What?!

CULTURAL THEFT. So we are told by Eddie Pillar that Johnny Hammond is playing “Acid Jazz” REALLY? This album is from 1976. Acid Jazz records was created in 1987. How does that work. Gilles Peterson invented Johnny Hammond did he ROFL!

Invicta FM”s Gilles Peterson is responsible for the fo The Mizzel Brothers sound is he!

Music of the Mind

African American Jazz Funk fused with  Black South American Rhythms (erroneously referred to as so called “Latin” ) was part of the Groove going back to the 1960’s. This JazzFunk/Samba track is done in the style of The Mizzel Brothers and belongs on a Johnny Hammond or Pleasure album.  You will find loads of Instrumentals like this in the 1970’s.

The Mizzel Brothers sound culturally appropriated as so called…

“acid jazz”!

The Intro sounds like Living without you (Pleasure) or the intro to Ghetto Samba (Hammond) .. The slow buildup to the groove sounds like  Hammond Smith’s (Can’t we smile ) and/or Marvin Gaye’s (Come Live with me Angel), I can hear the strings from Bobbie Humphrey’s (Please set me at ease) lead up to the start of the track. …… We then go into a samba groove along the lines of Hammond, Pleasure, Patrice Rushen or George Duke  Many Jazz Funk tracks started like this. Mandrill’s (Holiday) has similar aspects to it. The sweet intro, the build up then the main track is a familiar template to Funksters of the era.

Underneath the groove are elements of Pleasure’s (Theme for (Moonchild) and (Straight ahead). The Ending sounds like Johnny Hammond’s (Los conquistadores chocolates) or part of Pleasure’s (Straight ahead). The 1970’s Funk synth at the end of (Theme for Moonchild) has the same psychedelic effect although it’s not the same groove. You can get plenty of that in the 70’s. George Duke had that Keyboard sound as well and was brilliant in this Samba/Funk style Fusion.  Ultimately the ending sounds like Coltrane, the incredible Jazz Genius who left us too soon. He would have had a major impact had he been around to help shape the new jazz funk sound of the early 70’s alongside Herbie Hancock, Donald Byrd, George Duke, Miles and The Mizzel Brothers. Then again up can just go to the ending of Johnny Hammond’s (Forever Taurus).

Half a decade after Hammond Smith’s heyday as the 1980’s Synth Funk era began, hidden away on the (The boys are back) Album is The Stone City Band’s  (Tin Soldier). A Jazz Funk track that pays tribute to the early 1970’s and the Mizzel Brothers era. The Stone City Bands “Punk Funk” sound appears on Planet Home so Jamiroquai know who Rick James is. Tin Soldier is also similar to Music of the mind. The Mizzel Brothers sound is the major sound that they would have you believe is called acid jazz. It isn’t. The Mizzel Brothers existed. Acid jazz doesn’t. Music of the Mind is 1970’s jazz funk/ Latin fusion based on the old jazz sound of the 1960’s. The Mizzel Brothers were major producers of Jazz Funk in the 70’s, This is their sound and not that of Acid jazz records created in 1988 nor that of a DJ called Gilles Peterson. The co-founder of Acid jazz records.

Music of the Mind

acid jazz

(1970’s Jazz Funk/Samba)

-‘-

[Pleasure/ Johnny Hammond/ Marvin Gaye/ Bobbie Humphrey/ Stone City Band/ Coltrane]

Credited to

Jay Kay & Toby Smith

The Stone City Band; Tin Soldier
-‘-

[The Intro]

Pleasure; Living without you-[intro only]

Ethel Beatty; I know you care-[Intro only]
-‘-

[The Atmospherics]

Pleasure; Theme for Moonchild (Let the ending hit you)

Ronnie Laws; stay still and let me love you

Idris Muhammed; Peace of mind

Herbie Hancock; Vein Melter

-‘-

[The Build up]

Marvin Gaye; Come live with me Angel

Bobbie Humphrey; Please set me at ease-[The strings]

Johnny “Hammond” Smith; Can’t we smile

Stevie Wonder/Michael Jackson; I Can’t help it

Azymuth; Light as a feather

-‘-

[The Groove]

The Stone City Band; Tin Soldier

Johnny “Hammond” Smith; Ghetto Samba & Cosmic Voyager

Patrice Rushen; Jubilation

Mandrill; Holiday

-‘-

[The Ending]

Johnny Hammond: Forever Taurus [Check the ending]

Pleasure; Straight ahead @ 02.13 onward

John Coltrane; Lazybird-[Ending only]

Johnny “Hammond” Smith; Los conquistadores chocolates-[Ending only]

Stevie Wonder; Contusion-[Ending only]

-‘-

[Jazz Funk atmospherics for your Mind]

George Duke

Mr Mc Freeze

Malibu

Aura

Echidnas Arf

Herbie Hancock; Butterfly

Herbie Hancock; Sun Touch

Pleasure; Selim

Tom Browne: Herbal scent & Promises for spring

George Benson; No sooner said than done

Lonnie Liston Smith; Floating through space

Faze 0; Flying High

Narada Michael Walden; White Night & The dance of life

Jaco Pastorius; Giant steps (cover)

Genesis; Turn it on again (Rock/R&B)

[Brit Funk]-Morrissey Mullen; Return to Tooting Broadway (Strings)

-‘-

Emergency on Planet Earth
acid jazz

(Late 1970’s /early 1980’s Disco and Post disco era FUNK)

Kool and the Gang in an over extended Brothers Johnson Chorus

Curtis Mayfield, Kool and the Gang, CHIC!, James Mason, The Isley Brothers, The Brothers Johnson and Slick Rick James..…..

The Violins of Curtis Mayfield begin one version of this track. Kool and the Gang begin the other with (Be My Lady). Pleasure chip in with that high contrast “ear splitting” guitar style of theirs. There is an element of  the intro of The Isley Brother’s (Tell me when you need it again) which drives the groove in the background throughout the track. We get the Kool and the Gang break from (Rollin’) or (Get Down on it)…. Patrice Rushen got there first on (Look Up) and I think The Commodores before that on (Flying High) the latter being part of the groove on Soul Education as I see it.

After the intro we get the sudden jump in chords reminiscent of Tom Browne’s (Come for a ride) Much blasted back in the day by Greg Edwards at The best disco in town (Lyceum at the Strand London). Ultimately that groove probably comes from Stevie’s Chorus (For once in my life) in that the groove goes where you don’t expect it to.  They do the same on Canned Heat. See my review of that track. So now we settle into a Kool and the Gang groove with the Isley Brothers chugging away in the background. What sounds like the intro to James Mason’s (Good things) also loops though the track.

Towards the end the Groove changes and I can hear a distant echo or  an attempt to mimic The  Brothers Johnson. It sounds like the congas from (Stomp) and a toned down version of the great Louis “Thunder Thumbs” Johnson on (Celebrations). The track ends with the ‘flattened out’ Synth sound that became more popular as the 80’s wore on. It sounds like it’s lifted from Seduction by Rick James and Val Young one of Tony Blackburn’s favorites on his 80’s London Soul Show. I might add the Synth sound was around in the early 80’s. (Be yourself) by Cameo for example.

So, on first listen any 80’s Funkster is going to mention Kool and the Gang. Well at least the post Disco era Kool and the Gang. Most of their their early 70’s James Brown/P-Funk sound is different. Everyone remembers (Get down on it) or (Shes Fresh) in the National charts., Kool and the Gang were no strangers to the U.K.  However 1970’s (Jungle Boogie) and (Funky Stuff) isn’t 1980’s (Joanna) or (Hi de Hi). That said the Open Sesame album had some super sweet silky harmonics (Whisper softly) or (Sunshine) example as well as the title track which appeared on Saturday Night Fever. (Sunshine) shows the Americans were playing Drum and Bass long before we were in the late 1980’s. The similarly titled (Sunshine and Love) on the Jungle Boogie album shows they could handle the sweet groove, So Kool and the Gang had previous when it came to the softer side of SOUL even in the 70’s. They were never simply a hardcore FUNK band and don’t forget they had their roots in Jazz. Kool and the Gang are absolutely the equals of Earth Wind and Fire. And should be regarded as such by any FUNK Historian. They too have a Star on the Walk of Fame.

So this track copies the Energy of CHIC! and also Kool and the Gang among others. It’s a familiar 70’s/80’s Funk frequency, reclassified as so called “acid jazz! by Eddie Pillar. It isn’t Also Emergency is one of Kool and the Gang’s Post Disco albums. So there’s your metaphysical admission as I see it. Below are the grooves mentioned and I have provided lots of recommendations. (Canned Heat) on Synkronised belongs in the same FUNK frequency so see my review of that track for more recommendations.

Emergency on Planet Earth

acid jazz

(Late 1970’s /early 1980’s Disco and Post disco era FUNK)

-‘-

[Curtis Mayfield/ Kool And The Gang/ Isley Brothers/ James Mason / The Brothers Johnson/ Rick James]

Credited to

Jay Kay & Toby Smith

Kool And The Gang; Rollin

[The Intro]

Curtis Mayfield; Right on for the darkness-[The violins at the end are the intro to one version of E.o.p.e and appear throughout the track]

Pleasure; I’m mad & Ghettos of the mind-[The lead guitar at the intro]

The Isley Brothers; Tell me when you need it again-[Intro only] Looped throughout the track

Roy Ayres; Fire weaver–[The violin @ “Emergency on planet earth..”]

James Mason; Good things [Intro synth rift @“Now we got Emergency..”]

-‘-

[The sudden unexpected jump in chords @ “wohohooo!” ]

(Leroy Burgess) Dazzle; You Dazzle Me!

Tom Browne; Come for a ride-[intro only]

Stevie Wonder; for once in my life [The Chorus and the ending @ “someone who needs me”]

Starpoint; Starnite Your Night.

“This groove was copied by Madonna in the chorus of Lucky star imo.

-‘-

[The Groove]

[Kool And The Gang]

Rollin’-[Bassline & groove]

Be my lady-[Intro and groove]

Celebrate-[The Rhythm guitar]

Get down on it-[Elements of the groove]
-‘-

[The Ending]
[The Bass plucks towards the end]

The Brothers Johnson; Celebrations

The Brothers Johnson; Do it for Love
-‘-

[The congas towards the end]

The Brothers Johnson; Stomp (Original Album version)

-‘-
[Synth towards the end]

Rick James/Val Young; Seduction

-‘-
[More Synth]

Rick James; Glow

(Rick James) Mary Jane Girls; Candyman & In my house

(Rick James) Teena Marie; Lovergirl

Circle City Band; Magic

Merc and Monk; Baby Face

Cameo; Be yourself

*Emergency Album; kool and the Gang*

The Late 70’s early 1980’s (The last days of Disco era FUNK)

This is the Time period a track Like (Emergency on Planet Earth) released in 1993 mimics. Its the post Disco sound (1980-1983) after which the Electrophonic Phunk sound dominates the Groove. So never let anyone tell you it’s called acid jazz. There is no such genre. Period.

Earth Wind and Fire; 

And Love goes on, Let your feelings show, Lady Sun, Got to get you into my life, September

Donald Byrd; Love has come around

Dynasty; Groove Control

The Isley Brothers; Go all the way

George Duke; Brazilian Love Affair

The Jacksons; Can you Feel it & You are my lovely one

Stevie Wonder; Do I do & That Girl

[Brit Funk] The Players Association; Goin’ to the disco

[Brit Funk]-Delegation; You and I

Kool and the Gang; Ladies Night, Take it to the top & If you feel like dancing

The Brothers Johnson; Dancing Free & The Real thing

[Brit Funk]-Olympic Runners; The Bitch

Gladys Night and the Pips; Taste of bitter love

Shalamar; Take that to the Bank & Make that move

Isley Brothers; It’s a disco night

Skyy; Here’s to you & Superlove

[Brit Funk]-Kandidate; Girls, Girls, Girls

[Brit Funk]-The Real Thing; Foot Tapping

One Way; Music

Peaches & Herb; Shake your groove thing

Aurra; Send your Love

Mtume; Give it on up

Mc Fadden and Whitehead; Ain’t no stopping us now

-‘-

The Isley Brothers; Next Phase-[The guitar in the chorus]

So do you think that Emergency on Planet Earth is a Disco post Disco era track or do you think this sound was invented here in London in 1988 by Acid jazz records because Eddie Pillar tells you so on Wikipedia? Now lets go onto another Groove that Eddie Pillar is claiming as so called acid jazz….

-‘-

Whatever it is I just can’t stop

acid jazz

(Late 1960’s, early to mid 1970’s Funk & Cosmic FUNK mid 70’s)

The sound of James Brown-Reclassified as “acid jazz” by Eddie Pillar and Gilles Peterson

Neither Jamiroquai, Eddie Pillar, Gilles Peterson or Acid jazz records created in 1988 are responsible for the sound of James Brown.

The Return of the Godfather (1987)

Full Force (featuring James Brown) I’m Real

”I’m the real super-bad, and ain’t nobody out there good enough to take the things I had”.. “You steal my Rhythm and my style and you think you’re god! I’m the teacher……HEY!!! I’m as good as Gold Check out Brother Brown…

“I INVENTED SOUL”

-‘-

JAMES BROWN & GEORGE CLINTON

This track basically rips James Brown and Clinton. It comes over a bit like Johnny Hammond’s (Don’t let the system get you)  in terms of lyrics and bassline. The chorus rips Parliaments (Red Hot Mama) even copying the James Brown style scream. This is classic 70’s FUNK. This is James Brown.

It is not a music genre called acid jazz invented here in London in 1988.

credited to

Jay Kay

The Meters; Just Kissed my baby & People Say

Mandrill; Fencewalk [“It’s not what you think it’s what you Feel”]

Mandrill; Skydiving Upwards

Pleasure; Music is my life

Johnny “Hammond” Smith; Don’t let the system get you

-‘-

[The Bridge]

Funkadelic; Red hot Mama-[Guitar breakdown & James Brown style scream]

Parliament; Get up for the downstroke

A Tribe called quest; Can I kick it? [Lyrics; ”Can I pick it up”]

Cameo; Your love takes me out-

[Lyrics“I don’t need no doctor”-“can’t get medical attention till….”]

Cameo update this groove and turn it into some of the slickest baddest FUNK we had ever heard. It was around this time that Larry Blackmon/ Cameo/ Mantra/La Connection started to take over from Parliament Funkadelic as the standard bearers of Hardcore Funk. Just as Parliament had taken the James Brown in the mid 70’s with their own brand of FUNK/ROCK and SOUL fusion. George Clinton was still around in the 80’s but he didn’t have the high profile he did in the 1970’s. Not that he needed to as by now he was a FUNK god second only to James Brown. The Gap Band carried on the Parliamentarian Funk (P-FUNK) tradition all through the 80’s. At the same time Cameo who had been viciously Funky all through the late 70’s  adjusted their sound brilliantly in the post disco era (1980-1983). Then emerged as The giants of Hardcore Synth Funk in the 1980’s becoming massive global superstars.

Hardcore Funk?

 Hardcore FUNK was just that. Ruff ‘n ready. James Brown style. No namby pamby Barry White/CHIC style violins here! It was Raw and stripped down. Just Bass, Guitar, Drums and the Horns. The Rhythms of James Brown and the Funky Drumbeats were hard enough to handle but the introduction of Larry Graham’s Bass slap made the FUNK irresistible.  Pleasure, The Brothers Johnson, Slave and many others incorporated it into their groove but they were more Sohphista Funk (Sophisticated Jazz-Funk and Soul Fusion) than Hardcore Funk.  Larry Blackmon and Cameo however took this bass bull by the horns and laid down some of the most vicious FUNK You could actually feel the thump and the plucks of the Bass go right through your body on the Disco Dancefloor. To this day no one has bettered them in terms of the Hardcore sound. During the synth Funk era they stayed with the keyboards but returned to their roots in the late 80’s on the Machismo album.

So some of the most famous Hardcore FUNK bands/ acts of the 1970’s were Parliament Funkadelic, CAMEO, The Commodores, The Gap Band, T. Connection, The  Isley Brothers, Brass Construction/ BT Express, and The Barkays.  In the 80’s Electrified era some of the greats were Zapp and Roger, The Time and of course CAMEO and The Gap band.  Rick James went Hardcore on the Throwing Down album and with the Stone City band in the 1980’s. There is plenty of Hardcore Funk in the recommendations for Space Cowboy and Mr Moon especially of the Bass Slap Variety.

-‘-

JAMES BROWN the Godfather of Soul

I can’t stand it

Mother Popcorn

Make it Funky

Cold sweat

Deep in it

Get on the good foot

-‘-

Recommendations.

Parliament; Breakdown,

Earth Wind and fire; Build your nest

Leroy Hutson; Blackberry Jam,

The Outlaw Gang; Fats Funky Bump

The Meters; Cissy Strut,

Fred Wesley; Funk for your ass

Houseband; Dancing shoes

Jazz Funkateers

Herbie Hancock; Palm Grease & Heartbeat

Patrice Rushen; Kicking Back,

Above are two good examples of Jazz men and women fusing Jazz with the Funky Rhythms of James Brown drum patterns. Obviously there are many more Like Donald Byrd & George Duke to name two of thousands. There are many compilations of James Brown such as the  Funky Drummer out there so take a listen to them. To understand the FUNK you must first understand James Brown.  And let me add right here that there is no such thing as a hip hop beat. Regardless of what so called modern music writers tell you. Those who claim there are are those who don’t know James Brown. Follow the Albums of these two Giants of Jazzfunk fusion Patrice Rushen and Herbie Hancock through the years. They were there in the Jazz Funk days, The Disco era and the Electrophonic era. Compare their earlier albums to the stuff they did in the 80’s and see how they moved with the times. They were both Keyboard geniuses and so had absolutely no problem during the synthesised era of the 1980’s.

-‘-

Blow Your Mind

acid Jazz

(1970’s Jazz Soul/Two step)

Not much to say here. The groove is Roy Ayres and the chorus is from The Blackyrds (Life Styles). Classic 70’s two step Jazz Funk. A groove and style familiar to any 1970’s, 1980’s and even most 90’s Funksters. The stuff of 1970’s/1980’s house parties. A Pretty straight forward SOUL track for anyone who knows the Groove. This is another sound that so called music experts of the 1990’s think is called acid jazz. No it isn’t . No Record label or DJ here in London invented 1970’s Donald Byrd or Roy Ayers. And neither did Jamiroquai. So never let any outsider tell you these sounds are called acid jazz.

Blow Your Mind

acid jazz

(1970’s Jazz Soul/Two step)

-‘-

[Stevie Wonder /Roy Ayers/ Pleasure /The Blackbyrds]

Credited to

Jay Kay & Toby Smith

Roy Ayers and Wayne Henderson; No deposit no return-[The Horns]

Roy Ayres; Love will bring us back together & If you love me

The Blackbyrds; life styles-[The Horns & The Keyboards]

Pleasure; Dust yourself off-[Elements of the groove and horns]

-‘-

Aurra; You and me tonight-[Elements of the groove]

Pleasure; Can’t turn you loose-[Horns]

Slave; Spice of life,

George Benson; Shiver-[“Do do do doo”]

Side Effect; Private World,

Stevie Wonder; Black Man (1975)

-‘-

Revolution 1993
acid jazz

(1970’s Jazz Funk/Gospel)

REVOLUTION 1975 NOT 1993

Immediately familiar to any London Soulhead of the 70’s. Basically a remake of (Momma) by Ronnie Laws. We have Johnny Hammond or Larry Graham style drums over-layed with classic 70’s Funk, Jazz/Funk horns. The African American Gospel sound that they Incorporated into their Jazz, funk and Soul of the 1970’s. The synth sounds a bit like Expansions by Lonnie Liston Smith but there is a more similar one that I can’t recall. It could be Larry Graham as it’s similar to (It’s your kind of music) and Revolution sounds like Larry Graham as well. Simple. A remake of a FUNK classic with no credit given and reclassified by Eddie Pillar as so called “Acid Jazz”.

Revolution 1993
acid jazz

(1970’s Jazz Funk/Gospel)
-‘-

[Ronnie Laws & Larry Graham]

Credited to

Jay Kay & Toby Smith

Ronnie Laws; Momma (1975)

Lonnie Liston Smith and the Cosmic Echoes; Expansions

Graham Central Station; Entrow, Release yourself & Hey Mr Writer

Isaac Hayes; Shaft [Violins]

[Brit Funk ]-Atmosfear; Interplay [Drums]

Johnny “Hammond” Smith; Wild horses-[Drums]
-‘-

Rose Royce; Do your dance-[Elements of the violin]

Curtis Mayfield; Beautiful Brother of mine-[Elements of the violin]

Faze-O; True love
-‘-

[The Ending]

MAZE; We are one

Boney M; Sunny

One Way; Lets go out tonight-[Intro only]

The Warriors; Destination-[The flute]
-‘-

The Gap Band; God is watching You

-‘-

Didgin’ Out
acid jazz

(Early 1970’s Experimental Jazz FUNK)

THE 1970’S PAN AFRICAN “WORLD SOUND” IS NOT CALLED “ACID JAZZ”.

Didgin’ out sounds like the early 1970’s and the beginning of the Pan African Sound. Or what some in the Mainstream called the World Sound. The merger of African, Aboriginal Australian. African American, The Carribean and the South American sound.

The groove sounds like a sample of Roy Ayres; (Rhythms of your mind) and recalls the grooves of Herbie Hancock and the Head Hunters. It’s the era of Fela Kuti, Manu Dibango. When people like Donald Byrd, Roy Ayers , Herbie Hancock were expanding the horizons of this new Jazz Funk sound. (Razzia) Patrice Rushen spring to mind. Over here in the U.K we had people like Osibisa, Cymande and Olympic Runners doing the same groove.

Didgin’ Out

acid jazz

(Early 1970’s Experimental Jazz FUNK)

-‘-

[Roy Ayres/ Herbie Hancock and the Head Hunters/ Patrice Rushen]

Credited to

Jay Kay & Wallace Buchanan

Roy Ayres; Rhythms of your mind-[Sample Start of the drumbeat appears towards the end]

Herbie Hancock /Head Hunters; God make me Funky & Rima (“didji” sound)

[Brit Funk]- Olympic Runners; Paco Paco Wa Wa

Miles Davis; Ife

Patrice Rushen; Razzia

Stevie Wonder; Have a talk with God

Herbie Hancock; [Early 1970’s albums eg. Survival of the fittest & Sextant Albums]

-‘-

Tom Browne; Fungi Mama

This was a big track in the London FUNK underground as it was then. Greg Edwards used to blast this one out at the Lyceum.  Fungi Mama was at the end of the decade but it harked back to the old days of experimental Jazz Funk and the World sound.

-‘-

What are some of the things you remember from those those days?

The background to the World sound is this.(As I remember it). The Planet was getting “smaller” thanks to the T.V and we were starting to see all parts of the globe in moving pictures instead magazines. The general public at least were becoming more and more educated on all these different sounds. The music of the World people saw on the documentaries from far flung part of the globe found it’s way not just into the groove but into mainstream music as well.

Double Barrel by Ancell Collins blew everyone’s mind in 71 and made Britain Reggae crazy. Osibisa and Cymnande brought the West African/West Indian  sound merging it with FUNK/Rock and South American so called Latin. Bands like Osibisa and Cymande were very popular in the U.K. The African beat was well known over here as was the South American so called Latin beat. Aussie Rolf Harris makes the didgeridoo famous in the UK on the T.V. This is an exiting period in Black music history. People are changing the sound, Jazz bands are incorporating Funk and Soul into their music and many of these new “Jazz funkateers” are adding all kinds of so called ethnic instruments into their songs. The West Indian Kettle Drums, and all sorts of African string instruments like the Kalimba, used so effectively by Maurice White of EWF. Earth Wind and Fire of course brought the Didjeridoo on (Africano) previously recommended.

In the 1960’s and 1970’s the World was a large place. It could take more than a week to receive a letter from across the Atlantic and if you wanted to speak to people in many parts of the world you used to have to go to an International phone exchange or send a telex. We didn’t have video recorders in the U.K until the early 1980’s so the chances of watching American Soultrain were zero In the 1970’s unless you actually went to America. The internet and modern day communication devices have made the world feel smaller. Before then your only window on the world was in magazines, comics or what you would watch on your little black and white Television, that’s if you could afford one. The famous world cup match between Pele’s Brazil and England (1970) was the first one screened in color here.

Younger readers should be aware that in the 1960’s and early 1970’s a television was a relatively new and expensive piece of machinery that not everyone could afford. For example many had to watch the early Moon landings through the window of a TV Store or in their relative or friends house because they didn’t have one! Ask your elders.

I remember watching the Trooping of the colour ceremony  in colour for the first time and marveling at the spectacle. I remember seeing Manchester United and Liverpool actually wearing Red instead of Dark grey. Watching football was sometime difficult especially when both teams were wearing light tops . You couldn’t tell the difference between the teams on Black and White T.V.  Sometimes the presenter would say this or that team has hoops on their socks to differentiate between them. Watch a few old English football games to get the idea Vivid Technicolor was a whole new experience. Imagine seeing the rain forests, The beaches of Brazil or the stripes of a tiger in full color for the first time at home on your t.v without having to go to the cinema. Americans had colored TV before we did in the UK. Back then it took us about ten years to catch up with the Americans. Nowadays were generally pretty much the same.

It was equally fascinating to watch the Planet not only in full color but to listen to all the music from these far flung places. I’m not sure why but it made things seem more real.  Many of these global ethnic sounds seeped into Music. The Latin Percussion of Samba and Salsa are particularly fascinating to Jazz Funk acts of the era and merged easily into the groove.  I remember the Glitter band and Showaddy wady used to have two drummers playing in the East African Drum tradition. The era of the World sound was a period of experimentation and It was also the early 1970’s post MOTOWN era. Many were not sure in which direction to go as the decade began. You will see the same ten years later when the Disco sound was being replaced with the Electrophonic sound. There was whole lot of trial and error going on. What would people like in this new decade? Add a bit of Jazz to my FUNK? Maybe a bit of samba. What about fusing the Blues with reggae? Rock with Salsa? You name it people were doing it.

You will find some really fascinating albums in the early 1970’s. People like Stevie Wonder, and the famous Mizzel Brothers, Johnny Hammond Liston Smith, Earth Wind and Fire,  George Duke, Herbie Hancock and many many others polish this early 1970’s sound into the slick Jazz funk fusion of the late 1970’s and the early 1980’s. However there are many many artists who didn’t always have such a high profile but also made stunning “World Fusion” Music. Immerse yourself in Chick Corea, Lenny White, Santana albums for example and see where these grooves take you in your mind. See if you can pick out say the Latin from th Rock , from the Jazz, from the James Brown style Funk. You might not see these and many of the more prominent Jazzfunkateers on Top of the Pop’s, Soultrain and the big music shows of the era but those shows of course were really for popular more commercialised music. Funky though some of it was.  It was all to do with how many records they sold. There were a multitude of reasons behind chart success. Promotion, airplay, marketing and so on. And popular music is just that, music designed to appeal to as many people as possible. Some of these  guys kept to their groove and refused to compromise/commercialise  their sound just to try for a hit, and they should be respected for it. However you only have to see the millions of devoted followers worldwide that these guys still have to understand just how respected they were and still are.

I wrote this because sometimes I see people on social media claiming that this band reached this position or sold this amount of records as if that was an indicator of some super talent. Just because you had a few high placings in the chart does not mean that you were more talented than these Jazz/Funk/Latin/Afrobeat/Rock bands of World Fusion. Some of the most sophisticated sounds ever made. It takes a whole lot to marry all these influences together.  here are thousands of bands who made it to number one in the charts who couldn’t hold a candle to any of these multi instrumentalists super composers.  And we know that there are many bands who do nothing but steal the music of others then claim credit for it. They have millions of record sales, but does that make them talented. No it does not. lack of mainstream Jazz/Funk /Soul/ Chart success does not indicate a lack of musical ability in any musician. So listen to the quality of this World Fusion era of the very early 70’s especially if you’re a musician. You will be impressed with the ingenuity of this period especially as much of this had never been tried before. Many of my generation won’t touch anything after about 1975. To them the Disco era of the late 70’s was inane or cheesy. What we called and still call Jazz Funk. Some 20 years later In the 1990’s when we are grown adults with children of our own, Acid Jazz records will claim that they invented this sound call it 100% acid jazz!

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And that concludes my review of Emergency on Planet Earth. So what did you hear? The 1970’s/1980’s FUNK (Rare Groove) that this Authentic Funkster recognises on this plagiarised 1990’s album?. Or did you hear a non-existent music genre called Acid Jazz invented by a formerLondon Pub DJ called Gilles Peterson who has never had a hit in his Life. in 1987 according to the BS written on Wikipedia by Eddie Pillar, Gilles Peterson and his mob. Although there is not a single mention of this lie in any Black music publication of the 1980’s.  Not a single mention of this lie on any of our 1980’s U.K Soul show’s such as our version of SoulTrain or Solid Soul. You will find no mention of anything called acid jazz in 1980’s Black Echoes or Blues and Soul Magazines. The only place you will see their FAKE version of History is on the Internet. So remember people, you have many ways to debunk their fradulant version of of Black Music History over here in the U.K. And shatter the illusion that Eddie Pillar Gilles Peterson and their International cabal

So as I said Emergency on Planet Earth is a straight forward SOUL album and those are the correct classifications for all the styles of FUNK featured on the Album. Anyone who tells you any different knows nothing about Black music, and knows nothing about the FUNK. All these sounds appear on music compilations falsely re-classified as so called “acid jazz”.

WRITING CREDITS FOR EMERGENCY ON PLANET EARTH.

(What Jay Kay and Jamiroquai want history to Record)

Now you know where all these sounds come from let’s take a look at the credits. Who claims to have written what. …. And what d’ya know Jay Kay claims credit on every track. Toby Smith is co- credited for six tracks and Nick van Gelder is co-credited for Stevie Wonder. So they would have history believe they are responsible for all the FUNK you see above. Note that their mates in the music industry have ensured that they are free of copywrite strikes. So the copycat who tell’s everyone that he “doesn’t use any outside Influences” and that “Taking other peoples music”  is plagiarism wants’ history to believe that he wrote all this music by himself. And Gilles Peterson and Eddie Pillar want history to believe that this isn’t Black music but Acid Jazz invented here in London. What do you think?

Taking other Peoples Music that’s plagiarism-Jay Kay

Do you see any credit given to Stevie Wonder, Curtis Mayfield or any of the bands they stole from on E.O.P E? I think Johnny Hammond Smith was credited somewhere for his riff but that’s it. The Disco era is gone but many of these Bands and Acts are still around. So you can right the wrongs by buying their records/CD’s You may even get to see some of them in concerts as many still perform. Put some money in their pockets and show them some love. I’m sure many opf these old school funksters will be delighted to hear some of you younger Funksters know their sounds.

So now Ladies and Gents if you wish please go take a look at all the other reviews of Jamiroquai Albums by 1990’s so called “Music experts” and compare them to this. Then Ask yourself who knows what they are talking about. Who is Authentic and who is not. Which brings me onto my next point…

A CLUELESS AND RIDICULOUS 1990’s REVIEW OF E. O. P. E BY Q MAGAZINE

There was a whole load of absolute tosh written by music reviewers in the 1990’s regarding Jamiroquai. Though I concede that many of these bands were unknown in the mainstream and even among  many  Funksters. Though we were all jamming together in the Disco and knew all the big mainstream FUNK bands, we all had our favourite style of Funk. Not everyone was into Jazz Funk. Some were into the hardcore stuff exclusively. Some were more into the South American sound and preferred Bossa nova or Salsa and Samba tinged FUNK.  Some were more into the slow stuff like two step and Ballads. Some were heavily into the African sound.  Some were deeply into the Blues. And many even stayed with the old MOTOWN sound and wouldn’t touch the stuff of the late 1970’s. Especially in the north of England where the Northern Soul crowd are still going strong in the 21st century. Now that’s dedication.  

That said one would at least expect people who call themselves music critics to have some knowledge or understanding of FUNK.  There are a lot to choose from. They claim that Jamiroquai are this and they are that. Some even called them pioneers! So little do they know about FUNK. One of the funniest I read was that they were credited with inventing “Future Funk”. Whatever the hell that is.  Though of course Gilles Peterson has a Time machine so that could  explain it. Anyhow  I have chosen the absolute stupidest one that I can find. And I am not going to let this go unanswered as this is the sort of crap they will try and drag up in the mid 21^st Century to support their fake version of Black Music History.  Remember this lot work generationally and they never stop lying.  By the mid to late 21^st Century they will be telling the World that they invented Funk. That Jamiroquai are responsible for all these sounds and that Daft Punk are responsible for Zapp, Clinton Parliament and 1980’s Electrophonic Phunk. You have already seen what they are claiming on Wikipedia so you already know their agenda.

Q MAGAZINE tries to compare Jamiroquai to Stevie Wonder!

Possibly the most stupid and Clueless review of a SOUL album That I have ever heard In my life. And I go Way Back.

On their Website Q magazine THEY CLAIM is the world’s greatest music publication! Well As the author of THE SOULHEAD TALES And Ten Easy Ways To Debunk The Acid Jazz Lie I can tell you that you are not. I can also tell you that you know nothing about Black Music, nothing about the FUNK and should not be writing reviews making such Idiotic and Baseless statements and little or nothing about the Funk. Hold onto your Family guy !who wants chowder” sick bags, take a deep breath and read on….

TOTALLY CLUELESS…. Q magazine claim that ……Emergency on Planet Earth is better than anything Stevie Wonder has done since Hotter Than July!

So yeah this is the quality of so called music reviews of Emergency on Planet Earth. Absolute TOSH. To compare a bunch of 1990’sRare Groove pickpockets and total plagiarists like Jamiroquai from over here, ridiculed by all authentic Funksters in the U.K  to the Genius that is Stevie Wonder actually beggars belief. You can tell that they din’t know anything about Soul music .

Well its recycled 70’s/80’s American Soul and NOT 1990’s British Soul. We didn’t invent any of those sound s over here but at least they got the genre right and didn’t call it Acid Jazz.  This was 1993 so back then everyone knew what style of music they were playing. You only start to see people calling these sounds “acid jazz” in the mid to late 1990’s when Eddie Pillars Fraudulent marketing campaign starts to have an effect. And the kids who were not born in the 1970’s start buying what they think is “100% Acid Jazz” as you have already seen above. By the time of Synkronised at the end of the decade 1999 those kids’ now young adults actually believe that acid jazz is actually a genre and not just a record label. That was the plan all along. And come the Internet  they are able to spread this lie globally on Wikipedia. You see. Generational myths work. My work destroys it. And they know it.
And as you can also see Entertainment weekly apparently descibe this Album as a “Helping the Band turn out Gritty Organic grooves”. ….Yeah Organic Plagiarism. Entertaiment Weekly is an American magazine. This is just an Issue from 1993 the year in question. I don’t know what issue this review comes from. And neither have I read it so if you track it down compare it to mine.

Now If this so called “music journalist” in Q thinks that this album is better than anything Stevie Wonder had written at the time, then that would have been because the writer doesn’t know who Stevie Wonder is, doesn’t know his albums and knows absolutely nothing about 1970’s 1980’s FUNK.  Please see the rest of the SOULHEAD TALES and see how much they have stolen from Stevie Wonder.  Had he/she actually been a disco era Funkster then he would recognise all the plagiarised groove on this Album. So be very Careful with some of the complete rubbish you see written by outsiders when it comes to Black Music on the Internet.

 For a so called “music journalist” to try and compare MOTOWN’s musical genius little Stevie Wonder upon who’s sounds much of the 60’s/70’s/80’s and 90’s Black music and even pop music is based…To Jamiroquai who’s entire discography is ripped off from  70’s/80’s FUNK that people at Q magazine have never heard of is the height of Musical Ignorance. What do they know about SOUL. Nothing. However as I said think how this would look in years to come. With These bad reviews coupled by Jay Kays insistence that he wrote all this music by himself. There is no counter argumnent is there even if your elders told you he was a plagiarist what evidence do you have to argue? Well you do have it and you are reading it!

 Remember Black America You will find no mention of any so called Acid jazz genre, club nights, club reports, Album reviews, single reviews etc, etc when they claim this genre was invented here in London in 1988 because its a serpent lie.  Your greatest Ally other than the fact they cannot define or name a single acid jazz track nor defeat THE SOULHEAD TALES is the Authentic Black Music publications of the era which details everything that happened on both sides of the Atlantic as far as FUNK was concerned.

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t these guys still have to understand just how respected they were and still are.

I wrote this because sometimes I see people on social media claiming that this band reached this position or sold this amount of records as if that was an indicator of some super talent. Just because you had a few high placings in the chart does not mean that you were more talented than these Jazz/Funk/Latin/Afrobeat/Rock bands of World Fusion. Some of the most sophisticated sounds ever made. It takes a whole lot to marry all these influences together.  here are thousands of bands who made it to number one in the charts who couldn’t hold a candle to any of these multi instrumentalists super composers.  And we know that there are many bands who do nothing but steal the music of others then claim credit for it. They have millions of record sales, but does that make them talented. No it does not. lack of mainstream Jazz/Funk /Soul/ Chart success does not indicate a lack of musical ability in any musician. So listen to the quality of this World Fusion era of the very early 70’s especially if you’re a musician. You will be impressed with the ingenuity of this period especially as much of this had never been tried before. Many of my generation won’t touch anything after about 1975. To them the Disco era of the late 70’s was inane or cheesy. What we called and still call Jazz Funk. Some 20 years later In the 1990’s when we are grown adults with children of our own, Acid Jazz records will claim that they invented this sound call it 100% acid jazz!

Didgin’ Out

acid jazz

(Early 1970’s Experimental Jazz FUNK)

-‘-

[Roy Ayres/ Herbie Hancock and the Head Hunters/ Patrice Rushen]

Credited to

Jay Kay & Wallace Buchanan

Roy Ayres; Rhythms of your mind-[Sample Start of the drumbeat appears towards the end]

Herbie Hancock /Head Hunters; God make me Funky & Rima (“didji” sound)

[Brit Funk]- Olympic Runners; Paco Paco Wa Wa

Miles Davis; Ife

Patrice Rushen; Razzia

Stevie Wonder; Have a talk with God

Herbie Hancock; [Early 1970’s albums eg. Survival of the fittest & Sextant Albums]

-‘-

Tom Browne; Fungi Mama

This was a big track in the London FUNK underground as it was then. Greg Edwards used to blast this one out at the Lyceum.  Fungi Mama was at the end of the decade but it harked back to the old days of experimental Jazz Funk and the World sound.

-‘-

---

So what did you hear? The 1970’s/1980’s FUNK (Rare Groove) that this Authentic Funkster recognises on this plagiarised 1990’s album. Or did you hear a non-existent music genre called Acid Jazz invented by a London Pub DJ called Gilles Peterson who has never had a hit in his Life. i

So as I said Emergency on Planet Earth is a straight forward SOUL album and those are the correct classifications for all the styles of FUNK featured on the Album. Anyone who tells you any different knows nothing about Black music, and knows nothing about the FUNK. All these sounds appear on music compilations falsely re-classified as so called “acid jazz”. A non existent genre. Do you seriously think that these two are responsible for all the sounds you have heard on this album? Do you seriously think that these sounds were invented here in London in 1988 when most of them come from the 1970’s.

WRITING CREDITS FOR EMERGENCY ON PLANET EARTH.

Jay Kay and Toby Smith claim credit for the bulk of these stolen sounds. So they would have history believe they are responsible for all the FUNK you see above. Well unluckily for them I was in the 70’s/80’s to hear these sounds, record them and return them to their rightful owners. Note that their mates in the satanic music industry have ensured that they are free of copywrite strikes. So that it appears that they created all these sounds by themselves.

Taking other Peoples Music that’s plagiarism-Jay Kay

Do you see any credit given to Stevie Wonder, Curtis Mayfield or any of the bands they stole from on E.O.P E? I think Johnny Hammond Smith was credited somewhere for his riff but that’s it.  I know where they stole these sounds from and now so do you. However this is the Lie Jamiroquai and the Synagogue of Satan wish to write into history. The Disco era is gone but many of these Bands and Acts are still around. So you can right the wrongs by buying their records/CD’s You may even get to see some of them in concerts as many still perform. Put some money in their pockets and show them some love. I’m sure many of these old school funksters will be delighted to hear some of you younger Funksters know their sounds.

Now go and compare some of the nonsense you see written on the Internet by people who know nothing about where any of these sounds come from.

Q MAGAZINE tries to compare Jamiroquai to Stevie Wonder!Possibly the most stupid review of a SOUL album I have ever heard,

On their Website Q magazine THEY CLAIM is the world’s greatest music publication!

I CAN TELL YOU THAT YOU ARE NOT  and I can also tell you that you know nothing about Black Music and little or nothing about the Funk.

Q magazine claim that Emergency on Planet Earth is better than anything Stevie Wonder has done since Hotter Than July! I can 100% guarantee you that these people know nothing about FUNK, should not be reviewing SOUL music and have absolutely no business reviewing Black music Albums.  To compare a bunch of Rare Groove pickpockets and total plagiarists like Jamiroquai from over here, ridiculed by all authentic Funksters in the U.K  to the Genius that is Stevie Wonder actually beggars belief. WHO ARE THESE PEOPLE!

 If this so called “music journalist” in GQ thinks that this album is better than anything Stevie Wonder had written at the time, then that would have been because the writer doesn’t know who Stevie Wonder is, doesn’t know his albums and knows absolutely nothing about 1970’s 1980’s FUNK.  Please see the rest of the SOULHEAD TALES and see how much they have stolen from Stevie Wonder.  Had he/she actually been a disco era Funkster then he would recognise all the plagiarised groove son this Album. So be very Careful with some of the complete rubbish you see written by outsiders when it comes to Black Music in the Internet.

 For a so called “music journalist” to try and compare MOTOWN’s musical genius little Stevie Wonder upon who’s sounds much of the 60’s/70’s/80’s and 90’s Black music and even pop music is based…To Jamiroquai who’s entire discography is ripped off from  70’s/80’s FUNK that people at GQ magazine have never heard of is the height of Musical Ignorance. What do they know about SOUL. Clearly little or Nothing. Blues and Soul is still around so if the same quality of writing that I remember from the 70’s/80’s still exists then stick with them.

So that was Emergency on Planet Earth. Now let’s move onto their next album THE RETURN OF THE SPACE COWBOY

Iam sure thet you would like to see what I make of the second album in their Discography.

Please click below

Plagiarism-The Return Of The Space Cowboy

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