PLAGIARISM ON A FUNK ODYSSEY
(Released 2001)
- THE FALSE RE-CLASSIFICATION OF BLACK MUSIC ON 2001 A FUNK ODYSSEY
- THE CORRECT CLASSIFICATIONS FOR THE MUSIC ON 2001 A FUNK ODYSSEY
- WRITING CREDITS- THE SONGS JAMIROQUAI CLAIM CREDIT FOR ON 2001 A FUNK ODYSSEY
- PLAGIARISM ON 2001 A FUNK ODYSSEY. AS I HEARD IT.
Welcome. Now lets go track by track line by line through 2001 A Funk Odyssey and see what I recognise from the 1970’s and the 1980’s FUNK on this so called Jamiroquai album. And lets see if we can find any of this so called “Acid Jazz” genre that Eddie Pillar, Gilles Peterson and the Synagogue of Satan claim was invented here in London in 1988. A genre that none of us who were actually there on the dancefloors of 1980’s London or the Magazines and Soul charts of the era have ever heard of.
First let’s take a look at their attempt to classify the FUNK on this retro post disco style album. Let’s take a look at the bollocks this mob have written on Wikipedia.
1.) THE FALSE RE-CLASSIFICATION OF BLACK MUSIC ON 2001 A FUNK ODYSSEY
( BY SYNAGOGUE OF SATAN )
They have taken control of Black Music history on Wikipedia and are trying to attach their record label to the legacy of Black American/British 20th Century Soul Music. There is nothing in our culture called acid jazz except for a satanic record label.
AAAAANND straight away as ever we see the Globalists don’t understand how to categorise Black Music……
NO THEY ARE NOT A BRITISH “FUNK AND ACID JAZZ BAND”
FUNK and “acid what?” Which track is “Gilles Petersons acid Jazz”?
So as you can see on Wikipedia once again Jamiroquai are fraudulently claimed as a so called Jazz Funk….. AND an “ Acid Jazz band”! Inference being that there is a music genre called acid jazz. And that some of this music belongs to this non existent so called genre . No such genre exists or has ever existed, neither here London or anywhere else. Anyone who refers to any style of Funk as so called “acid jazz” knows nothing about 20th Century Soul Music. He or She will not be anyone who was around in 1950’s, 1960’s, 1970’s the 1980’s. They will be 1990’s kids from the Interner era who don’t know what these sounds are. Remember 1990’s/2000 kids belive everything they read on wikipedia. They think that everything written on that serpent controlled website is a fact. Anyone who tells you that we ever refered to any style of FUNK as acid jazz is a liar. Acid Jazz is a Satanic record Label doing what these ghlobalist serpents have done down the centuries. Adopt the culture of others and then claom credit for it. Acid Jazz is a serpent Label trying to attach itself to the legacy of Funk in order to culturally appropriate it through disinformation. At the same time they are trying to wipe from history the Black British SOULHEAD community and all the authentic Brit Funk bands of the 1970’s/1980’s on Wikipedia and all over the net.
They are trying to make it look as if they (Acid Jazz records) are somehow relevant to the development of Black Music of the 1980’s. They are responsible for nothing other than the money they have made from other peoples talent. Anyone who tells you they were relevant of even known to us London Soulheads is a liar as the back issues of Blues and Soul, Black Echoes and all the other Black music publications of the 1980’s will prove. And so will all the Soul charts, Club reports and Soul T.V Shows of the era. Infiltrstors of Soul Music Gilles Peterson and Eddie Pillar are not responsible for any form of Black music regardless of what the synagogue of Satan and their globalist media claim.
On a Wikipedia page written by Jamiroquai and their mob we are told….
“Kay posed in front of a series of lasers making it the first album without the traditional Buffalo Man Logo.”-
What it should say of course is that Kay stole the design from the Kool and The Gang as One Album making it the first Album not to feature the logo he stole from Parliament Funkadelic. Which he tells everyone is the logo he thought up all by himself!
Well, he clearly thinks that no one would recognise all the FUNK he stole 20 years later so I guess this criminal thought that no one in the U.K ever bought Kool and the Gang albums in the Post Disco era. Or went to see their concerts at Wembley the Hammersmith Odeon. Kay is NOT from our generation and was too young to have been a disco dancing teen. was about 8 or nine yeard old. And we all know where he stole the so called “Buffalo Man” logo from. He of course being around four/five years old when Funkadelic were in their 1970’s Prime doesnt understand the the Iconic status attributed to the front cover of Standing on the verge.
THIS IS THE SYMBOL OF 1970’s BLACK AMERICAN COSMIC FUNK. IT IS NOT THE “BUFFALO MAN” LOGO OF JAY KAY OF JAMIROQUAI. HE STOLE IT JUST LIKE HE STOLE EVERYTHING ELSE.
So anyhow apparently this album contains a Black Music genre invented here in London by Invicta FM’s Gilles Peterson. According to a page written and policed by them that is. Below is the glaring evidence of their attempt at cultural theft and their attempt to re-write the History of Black Music and Of Black Britain…..
There is nothing on this album or on any other Jamiroquai album or indeed on the album of anyone else as there is no such thing as a music genre called acid jazz. So again ask Gilles Peterson to tell you which onme of these tracks contains his elusive acid jazz genre
2. THE CORRECT CLASSIFICATIONS FOR THE MUSIC ON 2001 A FUNK ODYSSEY
So below are the correct classifications for the songs on 2001 A Funk Odyssey and the era they belong in. As categorised by an Authentic 1970’s/1980’s Fukster who knows what these sounds are. Me. As with all of these albums. No authentic Funkster will challenge anything I have to say because they know what these sounds are too. The only people who will call this album or any Jamiroquai album “acid jazz” as opposed to Soul. R&B or Funk are those who know nothing about THE FUNK. They think Black American Soul was invented here in London in 1988 by this serpent record label. Bl
1 . Feels so Good (ELECTROPHONIC PHUNK) AKA Electro Funk/Synth Funk. A pastiche of a particular Post Disco era groove featuring the sounds of Gwen MC Crae, Beverly Johnson, High Fashion and others.
2. Little L (ELECTROPHONIC PHUNK) Post Disco era Electrified Funk with grooves of Prince, A Taste of Honey, Evelyn champagne King, Dexter Wansel and others.
3. You give me something (FUNK ) 1970’s. A familiar bassline with the sounds of Barry White. Earth Wind and Fire, Stevie, The Jackson Five and others.
4. Corner of the Earth (BOSSA NOVA) A 1970’s/ 1980’s track along the lines of Earth Wind and Fire (Mom), Patrice Rushen (She will take you down to love) etc featuring what sounds like (Mars the Bringer of War) by Holst.
5. Stop don’t panic. (SYNTH-POP/ ELECTRO) A 1980’s track featuring elements of “Dance off “style Electro. The hardcore Electrophonmic Phunk sound Breakdancers and body poppers used to dance to in the early 1980’s.
6. Love Foolosophy (FUNK)A late 1970’s Gambel and Huff style Disco era FUNK track copied from Roy Ayers, and the S.O.S Band.
7. 2001 (SYNTH-POP/ ELECTRO) a 1980’s track
8. Black Crow (SOUL) A 1970’s style track which sounds like it’s copied from Marvin Gaye and Wayne Henderson
9.) Main Vein (FUNK) Early 1970’s Funk-Jazz Funk copied from Randy Muller (BT Express) featuring the style of Curtis Mayfield, Isaac Hayes, the Barkays and others. You could also call this early 1970’s Jazz-Funk. Many of these guys were ex Jazzmen.
10.) Do it like we used to (FUNK) Another early 70’s track basically Mein Vein 2.
11.) Picture of my Life (BOSSA NOVA) South American Soul erroniously referred to as Latin.
12.) So good to be real (FUNK) A 70’s track copied from L.T.D ‘s Time to be real.
So 2001 A Funk Odyssey is a post disco album featuring FUNK, BOSSA NOVA, ELECTROPHONIC PHUNK, ELECTRO and SYNTH POP. I wonder which track Gilles Peterson of Invicta FM claims credit for!?
WHAT TRACK CONTAINS “YOUR” ACID JAZZ GENRE GILLES PETERSON?
Ask this front man for THE GREAT THEFT OF FUNK which style of Black Music on this album or any album does he claim responsibility /credit for. What type of 1980-1983 Post Disco sound did you invent in 1988 Gilles Peterson?
3. WRITING CREDITS- THE SONGS JAMIROQUAI CLAIM CREDIT FOR ON 2001 A FUNK ODYSSEY
2001 A FUNK ODYSSEY.
Ready for more lies?! Gooood. So below we have the writing credits. The music they claim to have penned themselves and have signed their names to. So as you can see below Rob Harris, Toby Smith, Nick Fyffe and Jay Kay claim ownership of all the songs on this album. I see no credit given to anyone else can you? Nope. So it stands to reason that Jamiroquai want history to record that they wrote all this by themselves. Afterall Jay Kay claims they “don’t use any outside influences”.
Who claims credit for all this music?
Now, close your eyes and let’s guess who claims credit for all of these tracks. Yeah you didn’t bother to close your eyes because you knew it already. It’s Mr “taking other peoples Music is Plagiarism” himself. He claims credit or is co-credited for every single track on this album. And of course as he says that he doesn’t use any outside influences, well then that must mean that he thought up all these sounds by Himself !
Plagiarist Jay Kay cxlaims credit for every track on 2001 A Funk Odyssey
So What type of rip off, I mean album is 2001 A Funk Odyssey? This album a Post Disco style Album. You would have heard an album like this around 1982/ 1983. It would have come after Synkronised which is more 1980/ 1981. There is nothing new or unique on this album. It is a retread of what we heard in the Post Disco era. It is not a British sound invented by a DJ called Gilles Peterson. It is Recycled FUNK. They are not creating “new music” or deciding to “go in new directions” or whatever rubbish they wrote to try and create myths or to explain the change in sound. That’s a load of Guff n’BS. Rubbish designed to try and fool people who don’t know what the difference is between the 1970’s and the post Disco era. This is the same music that those of us who were there heard during that time period.
What is happening is that they are roughly following the FUNK timeline, methodically hoovering up all the different Funk frequencies of the era then claiming ownership of them. The first three albums as you already know have mostly the “feel” of the 1970’s. Now they have continued into the post Disco era (1980-1983) which they started doing on the previous album Synkronised. They are still making musical snapshots and pastiches of other peoples sounds in the post disco era. Any authentic Funkster who listens to these albums will tell you the same thing because they will recognise the sound.
And it you are not a Funkster or a younger Soulhead you will soon get to recognise the Post Disco sound from my reccommendations. So when you read so called “music writers” of the late 1990’s and early 2000’s or Jamiroquai band members speaking about these “new sounds” or this “incredible new direction” they went in you know it’s total bollocks. They were not 1970’s/1980’s Funksters. They were mainstream so called writers or kids born in the 1980’s when we were clubbing so they don’t know who any of these people are.
I mention elsewhere that the only decent description that I heard of this album came from Australia. The Writer whose name I can’t remember said words to the effect of “Do not to see this album as anything new or unique but to see it as a mix of old sounds” or “a series of pastiches”. Something along those lines. I don’t have the Blues and Soul copy which reviewed this album but if you can track it down then it should be accurate. If you do then as with all my other reviews compare it to mine. I say “should ” be accurate because by 2001 I don’t know who the writers were or if they recognised these grooves 20 odd years later. I can vouch for most of the Blues and Soul writers of the 70’s/80’s. But people obviously move on and younger writers may not have they same knowledge.
I add this because of a ridiculous review by a recent so called Journalist which I cover elsewhere who claimed that The Brand New Heavies were “Pioneers of Acid Jazz”. They were pioneers of nothing here in London during the post Disco era when they didn’t even exist nor were they pioneers of any sound during the 1980’s reign of Loose Ends, Five Star, Soul To Soul and the like. And there is no such thing as acid jazz. Nothing here in London during the era was pioneered by the Brand New Heavies at any Time. The only people who think like this come from the 1990’s. Not the 1970’s/1980’s. So this writer clearly is not a Authentic Soulhead and no one in Blues and Soul magazine should be referring to any style of FUNK as acid jazz. Unless they are Clueless about FUNK or are part of “their” media campaign. The Brand New Heavies are of course linked to Acid Jazz records and thus Jamiroquai, Pillar Peterson and their mob . So of course they will support these lies .
These things need to be said because as you already know this mob are trying to re-write history. Tracks Twenty Zero One and Stop Don’t panic can be considered commercialised Electro Phunk or Synth pop. Other than that all the rest is SOUL. I know this era very well and I have a ton of recommendations to offer you Funksters and youngsters. The multiple reccomendations I give you for the first two tracks as well as where I think Jamiroquai stole the music from will give you an idea what it felt like in the clubs as the New sound of Electrophonic Phunk began to engulf the Groove.
What was it like in the post disco era?
I know from reading comments that people like a bit of background information on these eras from people who were actually thereThe early 1980’s is a different era. An important thing to add is that none of us called it The post disco era. When your in it you don’t call it an era. Its only when you look back as an older person 30/40 years later you realise it was an era. The 1970’s Orchestral Disco party with all those big bands is ending along with the decade. In the U.K and in the States there is another (orchestrated) economic slump. There are riots in Brixton and all over the U.K against Police racism and murders in custody. Very soon there will be 3 million unemployed in Maggie Thatcher’s Britain. The Falklands war and the Miners strike is on the way. Over in America they are hurting too with Reaganomics Hilariously alluded to in (Money Talks) by Rick James, (Is this the future) Fatback and more seriously in (The Message) by Grandmaster Flash and the Furious Five. However we were youngsters back then and like most youngsters we were more interested in the Music.
It was really, really exiting. We used to drive up to the west end (Central London) dressed to the nines hunting for a club to get into. Remember back then there were a tiny amount of clubs catering to the FUNK. Gossips and Gulliver’s were my favourite but there were others. You would read Blues and Soul magazine or listen to Pirate radio to see or hear where there was a Soul Night. You felt like you were in a community all dedicated to the sound of FUNK. The West end was full of Punks and New Romantics but they had more choice than we did. They had tons of clubs catering to them as did the mainstram club goers who were into pop music. Their music was mainstream the FUNK was underground. Yes we had some of the big Soul bands in the National charts like CHIC, Earth Wind and Fire or Kool and the Gang. The public knew all the old MOTOWN stars from the 60’s like Diana Ross, Smokey and so on who were still massive in the Post Disco era. British bands like Imagination and Linx had a lot of airplay and television time but most of the bands we were into were unheard of by the mainstream. You would only see them in the Soul charts not in the mainstream top 50 though some did fleetingly make it into the top 100. You needed to sell a whole lot of records to make it in to the charts and it all really depended on how much airplay you got.
Getting your SOUL track played on mainstram radio was almost impossible. If no one hears it then who’s gonna buy it. Thank God for the Pirate Radio stations like SOLAR radio and L.W.R. Things changed a bit as the decade wore on when the Electrofunk sound began to dominate. Then Soul music went mainstream (mid 1980’s) and many of our bands became well known to the mass public. However at this time 1981/82/83 people like Cameo , The S.O.S band and Prince were known only to us Funksters. it was like being in a small tribe. You would walk down the street and see a bloke on the other side of the road wearing white socks and you would know he was a fellow soulhead! Of course the mainstream copied us and white socks became a fashion for everyone. The same thing happened with the hairstyles andthe clothing. You would see someone on telly wearing the gear we were clubbing in 6 months ago being paraded as a “new” fashion. We never got any credit for starting the fashions. Someone else took credit for it just like Acid Jazz records are trying to take credit for Black British Soul and indeed all styles of 20th Century Soul music.
Music wise the FUNK just sounded different. The Synth seemed to amplify the frequency of the groove. It felt more vibrant. The music began to sound slicker, and tighter. All those high hand claps and those weird and wonderful whirring synthlines, strikes, and licks made the sound spectacular. I can remember standing in the club (I always got in early) and just listening to all these new sounds and think ing wow, just wow. We were excited to hear how bands would change their sound on their next album. We knew that what they released next would sound different to anything they had ever done before. I never forget listening to the intro of E.W.F’s (fall in love with me) and thinking well, E.W.F have gone Electrophonic!. As you go though these tracks compare the 1970’s sound these reccomended bands to their 1980’s sound. Also see how the fashion changed in the 80’s on the front covers of the Albums. Notice the giant Afro’s, big boots, bare chests and flares on 70’s album! Then compare them to some of the slickback, stay sof fro, drainpipe trouser (Pants) wearing 1980’s Albums. In many instances You will often be able to tell the era 1970’s or 1980’s just by looking at the album cover.
How did the fashion change?
Flared Trousers seemed to disappear overnight replaced by either baggy or tight fitting slacks. The hairstyles also changed drastically. The Afro went out 1980/81 replaced by the Wet Look. The Stay-Sof-fro was the big name for what we called the curly perm over here. [Note; I just took a look and it’s great to see they are still going strong!] Not that I have much hair left to worry about that anymore. The new hairstyle was called The Shark or the Pharoh. The slick back wet look I was talking about which you see on the front of many albums of the era. The only problem was that it was, well as you would expect, wet! Having that stuff drip down the back of your collar if you put too much on was pretty yucky and for a time the boys got to learn what the Girls go through having to wear a head covering to stop your pillow from getting greasy. And it was true that if you sat with your head against the wall having over applied it when you got up there would be a big head shaped stain left behind! Eddie Murphy’s coming to America alludes to this brilliantly in coming to America. If you want some context as regards not only the hairstyles but the fashions of the era.
The Flat top made famous by Grace Jones (at least to our generation) was the thing after that. Later on in the 1980’s as the dress sense got more garish it got higher as you will see when you watch Cameo videos of the 1980’s. It was still around at the end of the 1980’s take a look at the front cover of House Party The Movie. In the mid 80’s the boys started to have the close shaved look which they called the skiffle which was an old name. It was the first time many of us had had short cropped hair in our lives. 1970’s kids mostly wore the Afro like the Jackson 5 and we tried to get our “wet look” styles hair as long at the back as we could like Rick James.
Then here in London in the late 1980’s Soul To Soul changed the silly negative Image some had of Dreadlocks making them not only acceptable but highly fashionable. Just as the African Americans had done with the Afro back in the 70’s. Here Its wasn’t really a race thing as such because even among Black people some would give you funny looks if you had dreadlocks. They would think that you’re some sort of drug dealer or Gangster. Which is pretty stupid as the Ancestors wore dreadlocks in Egypt. Priests in West Africa often had Dreads. Anyhow dreads are now worn proudly by many people across the globe.
Another thing I noticed was all this new technology that seemed to be coming out. No more needing to carry a ghetto blaster (Radio Cassette Player) around with you and spending extortionate amounts of money to buy those big batteries that ran out after about 5 minutes. Now you could get a Sony Walkman. The first time I heard the quality of the sound through a pair of headphones is still a memorable experience. If you had a mini walkman you were the Boss or the top Gal!. Your mate would ask to listen then it would be, Hey I gotta get one of these! Its similar I suppose to those who have a new phone nowadays in the early 21st century.
Amazingly now early 1980’s the Music studio was also portable. Back in the day unless you were a singer, to join a band you had to learn to play an instrument. Now you could synthesize it all on a keyboard. Before if you wanted to record a demo you used to have to go to a studio and pay a ridiculous amount of cash. Now technology was moving quickly to the point where you could create a half decent demo in your own bedroom with these mini studios. The Sampler enabled you to capture a sound then play it back. So what you say sitting in front of your futuristic computer, I can do that. Yeah, but just think what that new tech was like in the days before desktop computers became a thing when all the kids had was a Spectrum, Pac-Man or Space Invaders!
I was a bit too old for games at the time but I did get a mini sampler From Argos I think. Tottenham Court in London I remember was one of the places where people went to get their studios from. I also got a drum machine which was pretty cool. listen to the Intro of (Call it what you want) or the follow up (We call it the box) by Bill Summers and the Summers heat. That’s what the drum machine sounded like. Listen to (A.E.I.O.U) by Freeeze and at a certain part of the track (towards the end) you can hear them use the sampler to repeat the title of the track. I can remember sitting there and thinking wow, I can actually create the same sound that super stars can do sitting in my room. Nowadays of course you can do it all on computers and even on your phone. On the downside many may would argue that the widespread use of the sampler assisted the demise of the quality of music and I agree. Certainy it enabled more people to make music but pinching bits of other peoples music then calling yourself a genius withougt givinbg credit wasn’t looked upon kindly by our generation. It still isn’t. Many may say though that using samples helped intorduce the youngsters to sounds they wouldn’t have known otherwise. James brown, Parliament Funkadelic, Zapp, The Gap Band and samples in rap during the late 1980’s and 1990’s intorduced a whole new generation to the sounds of the 70’s so I suppose theres that. I geuss It’s okay If the peolpe are credited for their music. However that isn’t always the case. Jamiroquai and many other bands being that case in point.
So The 1970’s were spectacular but the 1980’s were in their own way just as great. They were both completly amazing and different. I am often harsh on the late 1980’s as although there was a whole load of fantastic Music about as you will hear, there was also a lot of fodder to put it politely. Now things were easier and cheaper to produce a whole load of people flooded the groove with substandard Electro which went nowhere. Added to that were these samples which got boring at least to us.
For me I need nore than just a bassline or a robotic drum pattern. Anyone can do that. I need harmonies. I don’t want to just sit there nodding my head I want to be taken on a journey. Most of the time. I want to Feel the Funk not just hear it. So I have gone to great lengths to remember as much of the good stuff as I can so you too can go on a trip in your mind. You don’t get the same psychedelic feel of the 70’s but there is still some great stuff. As a harmony Junkie I was looking out for it during the 80’s so in my reccomendations I have assembled as much sweet groove as I remember.
This isn’t exclusively an Electro Album course. You still had a lot of Disco sounding grooves on post Disco albums of the early 1980’s as the sound gradually changed. And this album reflects that. After this the speed of Funk slows down in 1984 for a short period. House parties were a major part of our youth back then. It was difficult to find clubs playing FUNK here in London so we basically did our own thing. if you were driving around London at night the 1980’s you would hear Funk being blasted out of flats or houses. You used to think to yourself aha, a fellow SOULHEAD! There were not that many of us. And it was around this time that “our boy” Junior Giscombe made it to number One in the U.S charts with Mama used to say. So this is really the beginning of the British FUNK invasion which featured the likes of Loose Ends, SADE, Billy Ocean, Five Star, Soul to Soul and many more. Bands all of which Gilles Peterson, Eddie Pillar and their mob are trying to erase from history on Wikipedia as if they didn’t exist.
So lets go….Listen for yourself and most importantly ENJOY The FUNK. I have many many fantastice sounds to offer you
4. PLAGIARISM ON 2001 A FUNK ODYSSEY. AS I HEARD IT.
2001 A FUNK ODYSSEY.
SOUL/R&B
acid jazz
Feels so good
acid jazz
(Early 1980’s Electrophonic Phunk aka Electrified FUNK)
(*Electrophonic Phunk or Electrified Funk was later shortened to Electro-Funk.)
Early 80’s. Disco era FUNK is dying. The new sound is upon us.
“Just a little bit of jazz tonite makes you feel alright”-
So track one…Feels so good sounds like a toned down pastiche of the early days of Electro-funk. Yes another Musical snapshot from a time when we were still calling it Electrophonic Phunk or Electrified Funk……. .At the start we get the “whooshing” of wind which seemed to appear in a lot of early Electro-Phunk tracks, though it dates back to stuff like (Wind Parade) in the 1970’s. The intro….. Air/Space hostess style vocals sound like New York Skyy’s (Arrival). (Skyy had to add NY to their name in the UK as there was already another band called Sky). Their track (Arrival) also has the whooshing sound at the intro. Space Hostesses were a thing back in the 70’s because of the Movie 2001 A Space Odyssey. A title which Jamiroquai of course didn’t copy. The keyboard at the start sounds like it’s taken from Gwen MC Crae’s (90% of me is you)…you can find similar in the Intro of one version of Aurra’s (Like I Like it).
After the Intro we launch into what sounds like Beverly Johnson’s (Can you feel it) complete with that Rhythm guitar chopping away in the background. This is a familiar groove from the early 1980’s, High Fashion (You’re the winner) and Brit Funk track Nick Straker’s (Just A little bit of Jazz) follow the same template and so do many others. A standard late 70’s early 80’s Post Disco groove as you will see from the recommendations.
It has the same dark feel to it that many tracks had in the time period.(Searching) by Change , (Erotic City ) Prince and The second half of (I wanna be your lover) by Prince (which features on the next Track on this Album, Little L), Kano’s (I am Ready) and of course (Fast Money) by Roy Ayers which also includes a Vocoder Intro like This track. Thwere were many more. And speaking of Roy Ayers he features on (Dance Wit Me) by Rick James from the same time period and you can hear the “hoooo, hoooo” in the background of that track just as you can on this one! So you see what I mean when I say Jamiroquai are making musical snapshots, mimicking peoples grooves, copying them, regurgitating them.
The Chorus
The Chorus sounds like (There’s no limit) by the SOS Band from the same period or Kwick’s (Here I go again). The windy sound appears on (Dit Dit Dit Dash Dash Dash) also by The SOS Band. The synth that ends the song is reminiscent of the old Funkier Prince in the early days (Head). The vocoder sounds like that on (Galaxy) by WAR which is an earlier version of this type of groove before the synth really took over. The FUNK of this era of course comes from earlier in the 70’s and is another updated James Brown style groove with that driving rhythm the guitar cutting straight through it like a knife. Eg James Brown (Body Heat) In the mid 70’s, Randy Muller’s Brass construction did similar stuff like (Movin’ and Changin’). And never forget MANDRE. The Electrified MOTOWN sound claimed by this mob as so called E..D. M. So as I said you would have heard a track like this at the time of D train’s (you’re the one for me), Nick Strakers (Just a little bit of Jazz), Searching by CHANGE, When Prince’s Cotroversy album was in the charts. This is a standard Post Disco era Groove (1980-83). A Frequency of the FUNK. I was there, Jammin in Gossips Night club, Reflections and Gullivers. London SOUL clubs of old there are plenty of reccomendations. So feel the PHUNK....Electrophonic Phunk.
Feels So Good
acid jazz
(Early 1980’s Electrophonic Phunk aka Electrified FUNK)
-‘-
[Gwen Mc Crae/ Beverly Johnson/ Nick Straker/ The SOS Band/ Prince]
Credited to
Jay Kay & Toby Smith
Beverly Johnson; Can you feel it
[Intro]
Gwen Mc Crae; 90% of me is you
James Mason; Funny girl-[intro only]
Willie Hutch; Love Me Back
Mandre: Solar flight
DJ Rogers; Love brought me back
Skyy; Arrival-[Windy sound at the intro/ Air hostess style vocalisations]
Visual; The Music got me Windy [sound in the intro]
Bobbie Humphrey; Chicago damn-[Windy sound at the intro only]
The SOS Band; Dit dit dit Dash dash dash dash-[Windy sound at the intro only]
-‘-
[The Groove]
Most these tracks were ” underground” tracks In that you would only have heard them in SOUL Clubs, on the Pirates or in London at least on Robbie Vincent or Greg Edwards Radio shows. As the 1980’s pprogressed and FUNK went mainstream in the mid 1980’s some of these bands appeared on top of the pops and other shows. You get a bit more Funk for your bucks as there were a whole load of mixes in this time period so you can hear several versions of many of these songs. Be sure to listen to the 12 inch origional album versions as well as the 12 inch mixes. The 7 inch versions on the smaller record was the shortened version truncated for radio play and videos so you miss out sometimes.
High Fashion; You’re the winner
[Brit Funk]-Nick Straker; Just Little bit of Jazz
[Brit Funk] Alton Edwards; I wanna spend some time with you
BB&Q; Imagination
Roy Ayres; Fast Money
The system; It’s Passion
The Whispers; Tonite’
Midnight star ; Operator
B.B.C. S & A; Rock Shock
Greg Henderson; Dreaming
[Brit Funk]–The Ebony Brothers; Brighten up your night
Confunkshun; Tell me that you like it. (guitar sound)
[Synth & Vocoder]
Prince; Head-[Synth towards the end]
WAR; Galaxy-[Vocalisations]
Rick James (feat Roy Ayres); Dance with me-[“hooooo hoooo” in the background]
*Kano (I am Ready)
I have seen people refer to this track as Italo. No it is Not. It is a straight forward FUNK track. And so is his other famous track (can’t hold back your loving). Italo is not a music genre it is FUNK made in Italy. Just like Brit Funk is not a music genre it is FUNK made here in the U.K. It is a copy of the African American sound. The African Americans own the FUNK. Not Acid jazz records or anyone else.
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[Chorus]
SOS Band; There is no limit & Take your time do it right-[Intro only]
Kwick; Here I go again, (Another weekend)
Starpoint – Standpoints Here Tonight
-‘-
Freddie James; Don’t turn your back on Love
Special Touch; This party Is just for you
T-Connection; Take it to the limit
[Brit Funk] Intrigue; No turning back
Michelle Wallace; Jazzy Rhythm
Partners; Groove me
Fern Kinney; I am ready for your love
TTF Today Tomorrow Forever- Dance Party Jam
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Electrophonic Phunk (Electrified Funk)
These are some other big tracks from the era.
Stevie Wonder/Jermaine Jackson; Burning Hot
Prince: Erotic City & I wanna be your lover (Second half of the track)
Change; (Luther Vandross). Searching & The Glow of Love
I have seen “Youtube experts” claim that Luther got his start with Change. Total rubbish. Luther Vandross was working with David Bowie back in the 1970’s and was well known behind the scenes in the music Industry!
Roy Ayres; Chicago
[Brit Funk] Imagination; In a state of love
[Brit Funk] Second Image; Don’t you
Finis Henderson; Skip to my lou
Joe Jackson; Stepping out (Pop music)
Back in the 1970s
The roots of the sound copied on Feels so good can be found in back In the 1970’s with the driving rhythms of and the James Brown guitar licks of the era. The Godfather of course goes back way before the 70’s so explore his earlier Albums. If you’re a youngster and you truly want to be a historian of the FUNK then you should know James Brown. Study James Brown and all the people he worked with and you will know and recognize where many of the sounds of the 1960’s, 1970’ss and 1980’s and 1990’s. come from. There are many gods of FUNK but James Brown was the Creator. Is the creator. And never let any record label like Acid jazz record created here in London to steal his sound tell you any different.
James Brown; Body Heat
B.T. Express; Express
Brass Construction; Changin’ & Movin
Peoples Choice; Do it anyway you wanna
Mass Production; Firecracker
And obviously Don’t forget Parlaiment/Clinton or The Gap Band
Electrophonic Phunk (Electrified Funk) late 1982 to 1987
So the synth was with us through most of the 1970’s and most of the 1980’s. New Jack Swing has synth as well and the Keyboard sound doesn’t leave Black Music in the way that the Orchestra left in the post Disco era. However New Jack Swing is a differnt sound. So we can say the Electrophonic Phunk era lasted until 1987 when New Jack Swing started.
THE POST DISCO ERA DRAWS TO A CLOSE. The new sound is here. Some loved it some hated it. Many DJ’s refused point blank to play it. “That ain’t the Funk mate, It’s bloody robot music”. That was the sentiment of many older Funksters at the time. Though not all by any means, In the 70’s you would dress up to go night clubbing. The FUNK had a sophisticated image. Stunning harmonies, incredible beats and a full orchestra in the background. Repetitive robotic drum machine with synthesizers didn’t sit well with many. Not that that type of sound hadn’t been around since the mid 70’s, but now it seemed to totally engulf Black music. Jazz funkateers were frozen out as their favorite bands abandoned “real music” and started to release Electrified albums.
To most others however it was great. I loved it. It was a whole new sound and a whole new experience. Frankly speaking the post Disco sound was, well electrifying. Nobody who was there will forget the sensation they felt in the disco with that deep Bass synth reverberating through your whole body, all those piercing electronic whizzing and buzzing sounds. Imagine being in the Club when (You dropped a bomb on me) by the Gap Band came on and you hadn’t heard it before. Now ir wasn’t just the odd track with a bit of synth the whole night in the club was Electrified. Different to anything we had experienced. It was tight, slick polished, beautifully produced and lets be honest we had been listening to the violin since the early 1970’s. We used to listen to Barry White when we were school kids. Time moves on. It was time for change, The Disco beat turns into House Music later on in the 80’s but there was a lot of stuff one might describe as House being played on pirate radio in the post Disco era. I have heard people describe (Burning Up) by Imagination as the first House Track. Well it’s not. It’s a straight Jazz Funk Track. I was never into House, but I recognise the beats they claim as House. The Drumbeats of (Music is the Answer) by Colonel Abraham and (Oh Sheila) By Ready for the World for example. I did play Burning up to one of my Mates recrently who is into Houise and he said yeah he can see why they call it the first House track ans apparently the guys behind the House Movement site Imaginations track as part of their Inspiration. So it’s London House! Unless of course you listen to Richie Havens version of Odysseys- (Going Back To My Roots). All these socalled late 1980’s/1990’s sounds were around in the post Disco era. They just hadn’t become famous yet. And thats another thing co called New wave
NEW WAVE WAS NOT NEW!
Shock; Electrophonic Phunk
“It’s not rock! it’s not punk, we don’t need new-wave it’s Electrophonic Phunk….!”
I thought I would record this as there is a whole load of rubbish written on the Internet by History revisionists as you have already gathered. Let me touch on the subject of so called New Wave. There was nothing new in so called new wave. As ever the Mainstream tried to rename a sound. Funk band Shock told them were to go
. “We don’t need new wave it’s Electrophonic Phunk.
So Called “New Wave” had been around for over half a decade!
The UK mainstream media tried to call the growing electro sound new wave when they heard synth pop bands like Soft Cell and others playing synth pop. There was nothing new about it. Funksters like Clinton and Parliament had been doing this sound since the late 70’s. So had The Germans, The French and The Italians. When UK/US mainstream pop bands started copying all these sounds as ever they tried to claim it was new. New wave like acid jazz is a meaningless term. It was coined by mainstream writers and it was only really used by people who didn’t know where any of the sounds came from. You already know the quality of the so called Music press by comparing their reviews of Jamiroquai to mine. Well the standard wasn’t much better back then. Then just as now most of them didn’t have a clue what they were talking about when it came to Black music. They seemed to think that Electrophonic Phunk or the watered down version of it we call synth pop was invented in the early 1980’s just as 1990’s music writers seemed to think that 1970’s FUNK was invented in the 1990’s.
These mainstream writers weren’t in Soul clubs when Tracks like (Aquaboogie) were played back in 1978. They didn’t know Parliament Funkadelic let alone Mandre, Dexter Wansell, Mass production, T Connection, The Gap Band or Cerrone to name but a few. Electronic Italo Disco and Space Disco was lost on them. And late 1970’s Electrophonic Phunk tracks like Brit Funk Band The Real thing (Can you feel the Force) or Heatwaves (Groovline) apparently never existed. Neither did the electrified bass, vocoder or synth on Stevie Wonders (Songs in the Key of life) album from 1975/76 exist. Or the Vocoder of the Isley Brothers.
Were you to have asked these so called music writers what was “new” about this sound they wouldn’t have been able to tell you. It was “new” to them because they knew nothing about Black music and had never heard it on mainstream radio. I remember one of the boys from BritFunk band Light of the World saying in an Interview at the time “New wave?, we’ve been playing this stuff for years” It wasn’t new. Electrophonic Phunk came first, so called “New wave” Synth Pop mimicked that sound just as previously Disco had mimicked the sound of Late 1970’s Funk .
Synth pop is just watered down synth funk played by pop bands regardless of what any mainstream music writers now or in the future tells you. DAFT PUNK steal this sound in the same way that Jamiroquai steal Jazz Funk, Notice the name PHUNK Electrophonic Phunk;… (It’s not rock, it’s not pop we don’t need New wave it’s Electrophonic Phunk).And now like Jamiroquai they claim they are unique. Jamiroquai, Gilles Peterson, Eddie Pillar and Daft Punk’s Bernstein are all linked. All part of the same crowd.
The mainstream may have known about the big disco era bands like CHIC or Kool and the Gang but they didn’t know the sounds of Mandre, the vocoder of Stevie Wonder and the Isley Brothers. They didn’t know Johnny Guitar Watson’s synth . They didn’t have a clue who Clinton was let alone Roger Troutman and Zapp. Here’s an example of what Iam talking about.
Take a listen to Kajagoogoo’s (Too shy). Released in 1984 and listen to the Intro. They were calling this stuff “new wave”. We were listening to it in 78/79/80. You and I both know this style of Funk from 1979 at the end of (I wanna be your lover) copied at the Intro of (Little L) as you will see in my next review. So how was it new? The mainstream didn’t even know who Prince was until 1984 when (Dove’s Cry) came out. We were jammin’ to Prince in the Disco era alongside The Jacksons, Bros Johnson, Quincy and all the rest.
You can feel the FUNK harmonies in Kajagoogoo’s (Too shy) though the chorus and other elements are Pop. Now take a listen to (Lions Mouth) also by Kajagoogoo which I loved, especially the ending. Do you think the mainstream so called music experts of the early 80’s who called this “new wave” had a clue who people like The Brothers Johnson or Pleasure were. You know where Electro started so never let any so called “music historian” tell you this type of Synth pop was or is new wave. Synth pop is watered down SOUL/R&B of the early 80’s. just like Disco was watered down SOUL/R&B of the 70’s. If it sounds like FUNK then it’s FUNK. (Lions Mouth)
So when you like, take a listen to the Intro of (Too shy) by Kajagoogoo (1984). They were a so called “New wave” synth pop band. After you have done that then listen to the original groove from Prince at the end of (I wanna be your lover) from 1979. What do you hear but the same groove? so anywhere you read Synth Pop bands being described as “New wave” written by so called 1980’s ” music experts” then be on your guard about anything else that they write because they don’t know what they are talking about. If the ydon’t metion Stevie Wonder and his Vocoder in the 1970’s then you know they know nothing about the origins of the electrophonic sound. Yes there was a “new wave” of music when the sound changed in the post Disco era but it started back in the late 1970’s and not when mainstream music writers first heard it in the early 1980’s. And none of it was invented by any of these so called New Wave bands who copied all the sounds. vAsk many of these New Wave bands and they will tell you they were into FUNK or knew a bit about FUNK and you can hear it.
Lets go onto the next track on the album Little L.
Little L
acid jazz
(Late 1970’s & early 1980’s Electrified FUNK)
Disco into Post disco
First Impression. Watching top of the pops 2001 I heard Jamiroquai . I stopped what I was doing and listened. After a few seconds I cracked a smile and thought, they have gone with Prince this time. It was the guitar licks (Sexy Dancer) and the (I wanna be your Lover) keyboard sound that hit me first. Then sitting in a waiting room back in 2001 this track came on . I heard the thud, thud, thud, of the Disco era. This time I was immediately transported back 20 years to my Disco dancing days and to a very specific period in time and a specific groove that was around in 1979/80 the height of disco fever. The flashing disco dance floor from Saturday night fever is alluded to in the video to this track. 1979, the year every one seemed to go crazy. The greatest year in Funk history 1979 into 1980. The familiar drumbeat of the “Disco thud” or the “Kick- Smack” starts off the groove. Back then a good DJ would literally be able to keep that beat going unbroken all through the night. So it was one constant beat where the songs seemed to merge into one another. It was the “in thing” at the time. come to think about it that might be one of the reasons why the disco sometimes felt hypnotising.
There used to be music compilations like Stars on 45 which had the Disco beat going all through the mix. 45 was the speed you played smaller 7 inch records at whilst 33 was the speed for larger Album sized vinyl on your record player. Of course as kids we used to swap the speed and play music speeded up or slowed down. Sometimes it sounded good! I notice nowadays there are folks who upload slowed down /chopped tracks on social media sites. So the tradition lives on in the digital age. Bakc and Forth by Cameo slowed down is pretty good.
Anyhow the Donna Summer (Hot stuff/ Bad girls medley) captures that effect precisely. (Tracks merging into one another) It was just one of many great tracks in 79/80 but looking back now it’s a another little musical time capsule. Take a listen to it… at the end of (Hot stuff) the groove goes quiet, but the kick smack continues….. then the guitar starts up. That’s when the whole disco would erupt in cheers! Then Bad girls starts. Over 20 years later when I first heard Little L, Hot stuff (Bad girls) was the track I remembered.
Little L starts in the same year 1979 at the end of (I wanna be your lover) by Prince. A massive track. We had read about this comparatively unknown American kid who could play all the instruments and write his own songs but that wasn’t that unusual back then. He was only known to Soulheads at the time and we had no idea that he would turn out to be the Stevie Wonder of our generation. In 1979 he was just one of many young super talented Funksters. The bassline continues complete with the bass plucks and the familiar space disco style synth fading in and out in the background. I think the keyboard was done by or with Patrice Rushen. Coincidentally or not she’s also part of this track……. So we hear the disco thud, thud, thud, The 1970’s style synth starts up in the background… A shrill strike of the violins from Barry White, Rose Royce, or CHIC. It’s also remeniscent of the intro to Heatwave’s (Grooveline) when that s-s-stunning trumpet call “announces” the groove….We continue… then the rhythm guitar licks from Parliament (Aqua Boogie) start up. I can hear the old fashioned tape loop hissing in the background, then I can hear the intro to Partice Rushen’s instrumental hit (NO1). (Instrumental means a track with no lyrics)
Intro
The intro ends as Patrice Rushen ‘zooms’ us from 1979 into the sound of 81. The bassline stays in 1979 and sounds like A taste of Honey (Boogie Ooogie Ooogie). This is the Lyceum at the Strand. “The best disco in town” with Greg Edward and that synth bouncing of the walls. They have basically copied the groove of (Shame) by Evelyn “Champagne” King. There is a “whoomp whoomp whoomp” sound in the background that I recognise from the lyceum. It was played at the same time as we were jamming to tracks like NY Skyy’s (Lets Celebrate), Barkays (Night Cruising), Brandi Wells; (Watch out), Gayle Adams; (Love fever), (This Beat is mine) by Viki D & Rick James; (Give it to me baby) etc. It’s similar to (Wide Shot) by Superior Movement. You can hear that “whup whup” sound (like a reggae beat) in the background of (Big Fun) by Kool and the Gang. So it’s post disco era groove, nothing new.
So as I say after the Intro the bassline sounds like (Boogie Oogie Ooggie) and Evelyn King’s (Shame). I recall that there were some remixes done of Little L which featured the Taste of Honey bassline so other people heard it too. On another remix they ”corrected” the keyboards to the two moody keys featured at the end of Tom Browne’s (Come for a Ride) See my recommendations for the end of (Where do we go from here.), The song progresses…underneath the groove you can still hear Patrice Rushen with the Hand claps from (forget me nots).
I can hear the guitar sound of CHANGE in the background from the same year (Heaven of my life). The intro to Patrice’s (No1) keeps repeating thoughout the track. Then towards the end I can hear the Violins from Dexter Wansel’s (You can be what you want to be). So yeah, this track straddles 1979/81. It would have been played as I said at the Lyceum. This is the start of the Post Disco era where the violins are disappearing and the synth is taking over. The intro from Prince another musical snapshot captures a groove that was around at the time. That hypnotic disco thud, thud, thud with the keyboards going on in the background. (Searching) by Change, Princes’s (Erotic City), Kano’s (Iam ready) all seemed to capture a specific frequency. Something you could drive to at night. What I call the spectacular Night! The stuff of Roy Ayers and many others. The first track Feels so good also mimics it to some degree. So that track and this are both pastiches, frequencies of the Funk. Frequencies they would have you belive are called acid jazz. Invented in London in 1988. Or E.D.M invented by Zapp tribute act and part of this crowd DAFT PUNK.
Little L (Satanic code for Bahl)
acid jazz
(Late 1970’s & early 1980’s Electrified FUNK)
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[Prince /Parliament/ A Taste Of Honey/ Evelyn “Champagne” King/Patrice Rushen/ Dexter Wansel]
Credited to
Jay Kay & Toby Smith
Evelyn “Champagne” King; Shame
[Intro]
[The Bassline & bass-plucks in the Intro]
*Prince; I wanna be your Lover-[Original album version]
*Be sure to get the original album version of I wanna be your lover. There are versions out there that cut off the second half of the track.
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[The Guitar licks in the Intro]
Prince; Sexy Dancer
The Strangers; Stimulation
(Original) Parliament; Aqua Boogie Pychoalphadiscobetaquadoloop
(The guitar licks used on Little L appear around the 02.18 mark)
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[Intro]
Patrice Rushen; Number one [Intro only]
Patrice Rushen; Forget me nots [Handclaps]
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[The Groove]
A Taste Of Honey; Boogie Ooogie Ooogie–[Bassline]
The SOS Band; Dit dit dit, dash dash dash
Change: Heaven of my life-[lead guitar]
Dexter Wansel; You can be what you want to be-[The violins]
Rick James; Cold Blooded-[The electrified synth]
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[Aspects of the synth]
The Dazz Band; Let it all Blow
Superior Movement; Wide Shot
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(Rod Temperton) Heatwave; The groove line
[Brit Funk]-The Real Thing; Can you feel the force
Kool and the Gang; Night People
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Donna Summer; Hot Stuff-Bad Girls Medley
[The Disco “Thud” or The “kick Smack” Drum beat as the two tracks changeover]
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Evelyn “Champagne” King; Get Loose I’m in Love
Examples of Electrophonic Phunk (Electrified Funk) late 1982 to 1987
ALL CHANGE! So by 1983 the new Electro sound dominates the airwaves. The Orchestra has gone and its mostly all synth. At least in the mainstream. There is still Jazzfunk but not that much. We lose many of the bands we grew up with in the 70’s who wouldn’t or couldn’t adjust their sound to this new musical environment. Many despised this new sound but many loved it. Here are a few more of the big Club hits of the 1980’s. Ur elders will remember most of this stuff.
Shock; Let’s get cracking
“We bring you Electrophonic Phunk, Phunk, Phunk, Phunk, Phunk,….
Yarbrough and Peoples; Don’t stop the music
D-Train; You’re the one for me, Music & Keep giving me love
[Brit Funk]-(Eddie Grant) Rockers Revenge; Walking on Sunshine
Sharon Redd; Beat the street
(KASHIF formerly of BT Express) Evelyn “Champagne” King; Get Loose I’m in Love
Vicky D; This beat is mine
(KASHIF formerly of BT Express) Melba Moore; Love’s comin’ at ya
Lillo Thomas; Your loves got a hold on me
The system; It’s Passion & you are in my system
Royalle Delight; I’ll be a freak for you
Linda Taylor; You and me just started
Yarbrough and Peoples; Don’t stop the music
The Whispers; In the Raw
Brass Construction; Get up to get down
Larry Harris; Throw down
Intensive Heat; Be my lady tonight
One Way; Push
Ozone; Strut my thang
Cashmere; Light of Love
Dayton; The sound of music
[Brit Funk]-Central Line; Walking into sunshine
Oran Juice Jones; Walking in the rain
L.T.D; Stop on by
Herbie Hancock; Ready or Not
The Barkays; Freakshow on the dancefloor & She Talks to me with her body.
Old school 1970’s giants the Barkays smashed into the 1980’s Electrophonic Phunk era with the greatest of ease. The new sound didn’t trouble them at all. They went from strength to strength in the 1980’s gaining many Electrohead fans who were too young to remember them from the days of Wattstax and Holy Ghost.
The Brothers Johnsosn; Funkedilala & Welcome to the club
The synth of course was nothing new to Thunder thumbs and lightning licks. They had been at it since the 70’s Thankfully they were with us all through the 1980’s. Laying down the FUNK.
Rockie Robbins; I’ve got your number
Midnight Star; Tuff
Atlantic Starr; Silver Shadow & Shadows
Atlantic Starr along with Midnight Star were absolutely huge in the 1980’s and had many hits. Starpoint were another one, All the stars!
[Brit Funk]-The Antilles; I’ve Got to Have You
The Antilles were another fantastic Brit Funk band who shamefully never got any airplay. I think one of the boys was Eddie Grants Brother.
Howard Johnson; So Fine & Knees.
Check out Howards Cockney London accent on Knees.
Steve Arrington; Feels so real
It felt like years since we heard Steve tearing up the Dancefloors with SLAVE during the 70’s. Back then he was a singer in a super group. Now he was a global superstar in his own right. I never forget seeing Steve on top of the pops in his Blue robes.
Herb Alpert; Keep your eye on me
Compare Herbs old school sound to his Electro sound. What a difference.
Jeff Lorber (Feat. Karyn White): Facts Of Love
Jeff is a Jazzfunkateer from the 1970’s who went from strenght to strength in the 80’s.
[Brit Funk]-Direct Drive; I don’t want anything
Another supertalented Brit Funk band who got no airplay except on Pirate Radio.
Fatback; Body language
The days of the Spanish Hustle were long gone but Fatback kept on having massive hits through the 1980’s.
Roy Ayres; Slip and Slide
[Brit Funk]-Steven Dante; Give it up for Love
Sharon Brown; I specialize in Love
[Brit Funk]-Loose Ends; Hanging on a string
Change; Change of Heart
Starpoint; Keep On It
The Dazz Band; Let it whip & Let it all Blow
Glen Jones; Finesse
Mtume; Green Light
[Brit Funk]-Total Contrast; Takes a little time
Curtis Hairston (Formerly of BB&Q) I want you all tonight.
Curtis was well loved over here in the U.K. He appeared on our version of Soultrain.
[Brit Funk]-David Joseph (Formerly of High Tension); You can’t hide your love
This track was a major hit in the London underground and broke into the mainstream charts.
O Bryan; Loveline
Bobby Nunn; She is just a groupie & Private Party
SOS Band; Just be good to me & Tell me if you still care
The new slick electro sound of the S.O.S Band, nothing like the old days of Take your time do it right or Dit dit dit dash dash dash.
Radiance; Fresh
(Rick James) Mary James Girls; Candyman
(Rick James) Teena Marie; Lovergirl & Fix it
Ray Parker Junior; For those who like to groove & Still in the groove
[Brit Funk]-David Grant (Formerly of Linx); Watching you watching me & Stop and Go
[Brit Funk]-Well Red; limit of your loving
Cameo; Word Up & Candy
The vicious evil bass slap of CAMEO was sadly a distant memory in the mid to late 1980’s. However CAMEO became the most Famous Hardcore Funk band on the Planet. And crossed over into the Mainstream spectacularly. I say this. Consider Larry Black man and the Boys as one of the greatest FUNK bands of all time. The stuff he did with not only Cameo but LA Connection, Mantra ,Cashfow is some of the greatest FUNK you will ever hear. In terms of hardcore FUNK. If it was James Brown in the 60’s, And if it was George Clinton in the 70’s then it was Larry Blackmon in the 80’s. Nothing can tough the nasty Basslines and grooves of late 70’s early 80’s CAMEO. And no band could match their Groove in the 1980’s. Don’t compare them to other more soft-core giants bands like the SOS BAND, CHANGE, Loose Ends etc because they were playing in a different groove. The bass was what made the old cameo. Leaving your Bass or your violin behind and creating a whole new sound to suit the electro time period is something many failed at CAMEO didn’t. You CAN mention Larry Blackmon and his crowd in the same breath as Clinton and PARLIAMENT –FUNKADELIC.
The Temptations; Treat her like a Lady
The Temptations were entertaining us and our elders when we were small kids in the 1960’s. Now we were in our 20’s and 30’s they were still having hit after hit. This was a big hit in London. I remember the girls singinmg it loudly in House parties . Compare a track like this to their old stuff from the 60’s.
Prince; Anastasia [“God is Love”]
So feel the change in sound on these first two tracks as compared to the 1970’s sound on their first three albums. There is plenty of great music in the 1980’s . Which do you prefer. The Orchestra of the 1970’s?, the half way house of the Post Disco era? or the Electronic sound of the 1980’s? Not that you have to prefer either type because you dont. I personally love both. Whatever mood you are in you will find the correct style of FUNK to take you where you want to go.
-‘-
You give me something
acid jazz
(1970’s FUNK)
Intro Vocoder from 1970’s Stevie. Then a re-working of one of the most famous basslines in the history of Funk. Has the ambiance of the Jacksons (Life of the Party) but the bassline is probably closer to the chorus of (Celebrate) by EWF looped, as it links together in a similar way. There’s something of Donna Summer towards the end (Spring Affair). Nothing new here and certainly nothing invented here in London by Acid jazz records in 1988 or at any time.
You give me something
acid jazz
(1970’s FUNK)
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[Stevie Wonder/ The Jackson 5/ Shalamar/ Earth Wind and Fire ]
Credited to
Jay Kay, Rob Harris & Nick Fyffe
Starpoint; I Want you closer
The Jackson 5; Life of the Party
Shalamar; Second time around
Earth Wind and Fire; Celebrate [The chorus]
The Jacksons; Wondering Who-[Vocoder intro only]
Donna Summer; Autumn changes-[Elements of the groove towards the end]
The classic 1970’s FUNK Bassline
We had been listening to this Funk bassline for years…..
George Duke; Funkin’ for the thrill I’m for real
[Brit Funk]–Delegation; Put a little love on me
Bill Withers; Lovely day
Side Effect; Keep on keeping on
Aurra; Baby love
Pleasure; Midnight at the oasis
CHIC; I want your love
Starpoint; Don’t leave me
Ronnie Laws: New day
Sister Sledge; One more time
Herb Alpert; Rise
Dexter Wansel; The sweetest Pain
Stanley Clarke; We Supply
George Duke; Scuse me missus
Tom Browne; Forever more
Mouzon’s Electric Band; I still love you baby
L.T.D; Stand up
Unlimited Touch; I hear music in the streets
The Isley Brothers; The winner takes all
Deodato; Knights Of Fantasy
[Brit Funk] Junior; Too late
Cameo; Is this the way
Jerry Knight: Joyride
Unlimited Touch; I hear music in the street
-‘-
(Barry White) Gloria Scott; Just As Long As We’re Together (1974)
WAR: Me and baby brother (1974)
There are loads of other tracks out there with this Bassline. These are just some of those I remember.
-‘-
Corner of the Earth
acid jazz
(1970’s Soul /Bossa Nova/ Classical)
A Standard Bossa Nova “South American Soull” track from the 1970’s. It goes along the lines of (Mom) by Earth, Wind and Fire.
The intro sounds like MARS by Gustav Holst from The Planet Suite.
[Gustav Holst/ Earth Wind and Fire/Patrice Rushen]
Credited to
Jay Kay & Rob Harris
[Intro]
Gustav Holst; Mars, The Bringer Of War (The Planet Suite)
Bobbi Humphrey; Mestizo Eyes
-‘-
[Black South American (Bossa)]
Note* The “Latin Bossa” beat is based on West African Drumbeats regardless of what you see written on Wikipedia and no matter who they claim “invented” it.
Earth Wind and Fire; Mom
Patrice Rushen; She will take you down to love,
Minnie Ripperton; Only when I’m dreaming
John Lucien; Rashida & Lady Love
-‘-
Stevie Wonder; Bird of Beauty
Pleasure; Sassafras Girl,
Heatwave; Dial
Starcrost; Quicksand,
Tom Browne; Weak in the knees
La Toya Jackson; Lovely is she (Sister of Janet & MJ)
Unlike Michael and Janet La Toya didn’t get much airplay over here in London unfortunately. Not sure why as she was a good singer.
Marcus Miller; Blast
-‘-
Stop don’t Panic
acid jazz
((1980’s Synth Pop/Electro)
Jay Kay, Rob Harris & Nick Fyffe
Don’t know, not my sound. It very familiar from the breakdance era. Around the time of Films like Breaking and Beat Street. Prince perhaps. The groove is slightly similar to and has aspects of late 1980’s Jam and Lewis/Janet Jackson.
Janet Jackson (Nasty Boys & Rhythm Nation)
Elbow bones and racketeers (Night in New York)
-‘-
Love Foolosophy
acid jazz
(Late 1970’s Disco era Funk)
Another Familiar groove from the late 1970’s and early 1980’s. I hear the intro Roy Ayes (What you won’t do for Love) straight away. The SOS Band play a big part in this track as well (Do it now) was essentially another version of (Take your time do it right). Love foolosophy is basically a replay of (Do it now) even down to the “oooh” at the beginning and the Cowbell. The track has the feel of late 1978 going into 1980/81. There was a lot of this groove around at the time as you will see in my reccomendations.
Roy Ayres got there first with that guitar sound/rift I think but there was plenty of that in the late 70’s. Nile Rogers had a lot to do with it and everybody wanted to sound like CHIC In this period. At the bridge I can hear the “Swans” in the intro of Mandrill’s (Holiday). One of the sweetest intros you will ever hear. In the lyrics, the pause between “California and Sunset” recalls Oliver Cheatham’s (Something about you). Anyhow as I said this is basically Roy Ayres and the SOS Band. There’s plenty of music in this particular chord, Jay W Mc Gee, Mystic Merlin, Young and Company the list goes on. It’s another one of those sounds we remember from the late 70’s, reclassified by the Synagogue of Satan as Acid Jazz. see below…
Love Foolosophy
acid jazz
(Late 1970’s Disco era FUNK)
-‘-
[Roy Ayres/The SOS Band/ Mandrill/ Jay W Mc Gee]
Credited to
Jay Kay & Toby Smith
The SOS Band; Do it Now
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The SOS Band; Take your time do it right & It’s a Long way to the top (“Concentration is the key”)
Roy Ayres; Sweet tears (1979 Version) & What you won’t do for Love
Mandrill; Holiday-[“Swans” in the intro] & Dance of Love
Jay W Mc Gee; When we Party
[Vocal arrangement]
Oliver Cheatham (Something about you) “hypnotise……….me” = “California………Sunset”
-‘-
Reccomendations
The rhythm guitar sound of the era
Young and Company; I like what you’re doing to me
Harvey Mason; We can start tonight
Booker T. Jones; Don’t stop your love
The Gibson Brothers; What a life
[Brit Funk] Light of the World; Time
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Sharon Redd: You’re the one for me
Donna Summer & Brooklyn Dreams (Heaven Knows)
Mystic Merlin; Just can’t give you up
Breakwater; Say you love me girl
Ronnie Laws; Young Child
Dayton; I got my eye on you
Night Bandit; Thief in the night
Cool Runners; So you think it funny
Peaches and Herb; Free way
[Brit Funk] Cloud; All Night Long
BT Express; Does it feel good to you (Get the version with the chorus and bridge. It breaks down a bit like Getaway by E.W.F)
Anita Ward; Ring my Bell
Blue Feather; Let’s Funk Tonight
Cloud; All Night Long
[Brit Funk]The Rah Band; Downside up
Jazzy D; Get on Up
Robin Beck; Sweet Talk
Liquid Gold; Don’t Panic
Stephanie Mills; Never knew love like this before
Roy Ayers; Don’t let our love slip away & Love fantasy
Roy Ayres; [Fever Album 1979]
2001
acid jazz
(1980’s Synth Pop/Electro)
Credited to
Jay Kay
Unknown. It sounds like another break dancing track from the 1980’s. It has some aspects of (Street dance) by Break Machine. It belongs with the B Boys and the breakdancing crowd of the19 80’s who were into Electro bands like The Soul Sonic Force, Jozun Crew, Cybertron, Tyrone Brunson, Mantronix etc. Street Sounds Electro compilations of the 1980’s are a recommendation as are the two breakdancing films of the era mentioned above, Beat Street and Breaking (Starring Ice T). It’s vaugly familiar. I get images of breakdancers in my memory when I hear it. Iam sure you will find it out there. Kay who came of age in this period (He was too young to be a 1970’s Jazzfunkateer or a post Disco Soulhead) was apparently into Electro. So ask him where he pinched it from.
-‘-
Black Crow
acid jazz
(1970’s/1980’s SOUL)
Any Marvin Gaye fan will know this track straight away. Not much else to say except Stevie and Wayne Henderson. Female vocals and harmonies straight out of 1970’s SOUL. Do you seriously think that this sound was invented here in London by a pirate DJ and a record Label in 1988?
Black Crow
acid jazz
(1970’s/1980’s SOUL)
-‘-
[Marvin Gaye/ Stevie Wonder/ &Wayne Henderson]
Credited to
Jay Kay, Rob Harris & Nick Fyffe
Marvin Gaye; Flying high in a friendly Sky
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Wayne Henderson; Mysterious Maiden
The Brothers Johnson; Strawberry letter 23-[Extended 12” version]
Kool and the gang; Whisper softly
Rick James; Getting It On (In The Sunshine)
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The Blackbyrds; Mysterious Vibes & Love so fine
Stevie Wonder; Bird of Beauty
Pharoah Sanders; Love will find a way
Minnie Ripperton; Only when I’m dreaming, The Blackbyrds;
Captain Sky; Moon child-[Female vocals]
Aquarian Dream; Look Ahead
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Main Vein
acid jazz
(Early 1970’s Jazz FUNK)
Early 1970’s. Afros, Shaft, Wattstax and LA car chase movies. This is Randy Muller and it Sounds like a replay of (Whatcha’ think about that). The ending sounds like Sly and the Family Stone (If you want me to stay) Or maybe Aquarian Dream or Loose Ends from the 80’s. This takes us back to the era of Isaac Hayes, The Barkays, and Curtis Mayfield. This is what Funk sounded like in the early 1970’s. Another Pretty straight forward pastiche of a FUNK frequency claimed as so called “acid jazz” by Eddie Pillar apparently invented here in London in 1988 by a DJ called Gilles Peterson. You can hear a lot of this sound on the early 70’s ‘Blacksploitation’ movies (As some call them) and on many film scores of the early 70’s. Randy Muller is a very Important Man in Funk History. Brass Construction & BT Express, were massive in the early 1970’s. As big as Earth Wind and Fire, Kool and the Gang, The Barkays you name them. Skyy & Raphael Cameron were also produced by Randy.
Main Vein
acid jazz
(Early 1970’s Jazz FUNK)
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[Randy Muller/ BT Express/Loose Ends/ Rose Royce]
Credited to
Jay Kay
BT Express; Whatcha’ think about that!?
-‘-
Curtis Mayfield; Beautiful Brother of mine
Isaac Hayes; Truck Turner & Funky Junky
The Barkays; Son of Shaft Live! At the Wattstax (Festival 1972)
The Temptations: Papa was a rollin stone (1972)
-‘-
The Bee Gees; You should be dancing now
Rose Royce; Water-[Elements of the groove]
Roy Ayres; We live in Brooklyn baby-[Elements of the groove]
The Isley Brothers; Go all the way-[Elements of the bassline towards the end of main vein]
[@”What you gonna do to stop me this time”]
Aquarian Dream; Fantasy
Sly and the Family Stone; If you want me to stay
Loose Ends; Watching you watching me
[Other 1970’s/1980’s FUNK Suggestions]
You can find plenty of this groove especially in the early 1970’s.
Isaac Hayes; Pursuit of the Pimpmobile
7th Wonder; Do it with your body
Cleopatra Jones; Go chase Cleo
Johnny Hammond; Shifting Gears
Faze O; Ya ba da ba duzie
The Tavares; It only takes a minuet girl
Lorraine Johnson; Feed the Flame
The Jackson 5; (You Were Made) Especially For Me
Creative Source; Who is he and what is he to you
Barrie Forgie; Mind Bender & hunted
(Ray Parker) Raydio; Is this a love thing
The Salsoul Orchestra; Zambesi
First Choice; Love Train
Kool and the Gang; Love the Life You Live
Brick; We Don’t Wanna Sit Down (We Wanna Git Down)
The Tavares; It only takes a minute to fall in love
-‘-
The mid 1980’s….. return of the 1970’s
BRIT FUNK- Light Of The World (Feat. Alexander O Neal); Walk Don’t Run
So the Infiltrators of Black British Soul will have you believe that they are somehow responsible for retro 1970’s Jazzfunk here in London. These are some of the grooves they are trying to wipe from History. Go take a Listen to what Light of the World Central line and others were doing on tracks like this or Wiki waki House party. Go watch a few British Soultrain videos . Retro Jazz funk was alive here in London way before this globalist outfit jumped on the bandwagon in 1988.
-‘-
Do It like we used to
acid jazz
(Early 1970s′ FUNK)
(Credited to?)
Unknown. Basically Main Vein II so see the recommendations above. The bassline sounds like the intro to [Light up the Night] by the Brother’s Johnson looped. Guitar along the lines of Roy Ayres (Brother Green), Strings similar to (Black Crow) Wayne Henderson. If it’s based on any particular track then I don’t know it. Could be anyone in the early 1970’s. Larry Graham, Rose Royce, BT Express, Curtis Mayfield, The Barkays, Isaac Hayes the list goes on. Ask kay ans Rob Harris where they stole it from.
Picture of my life
Just a standard South American Bossa track
(1970’s Soul/Bossa Nova)acid jazz
-‘-
[Patrice Rushen]
Credited to
Jay Kay & Rob Harris
Patrice Rushen; She will take you down to love
Lonnie Liston Smith; Quiet moments,
George Duke; A melody
*See Corner of the Earth recommendations.
-‘-
So good to feel real
acid jazz
(1970’s /1980’s FUNK)
Sound like it’s copied from L.T.D’s Time to be real. The admission is in the title. Nothing to see here. Apart from
[Geoffrey Osborne]
Credited to
Jay Kay
L.T.D Time to be real
Pleasure; Get to the feeling
T-Connection; Girl watching
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D-Train; Keep giving me love
Manhattan Rhythm; Sweet Lady
Chaka Khan; I know you, I live you
The Commodores: Such a Woman
So that was 2001 A Funk Odyssey. What did you hear other then what I told you that you would hear. Did you hear anything new, unique, original? No you didn’t. Did you hear anything called “Acid Jazz”?
No you didn’t and that is because there is no such thing as a Black Music genre called Acid Jazz. It does not exist. Acid Jazz is the name of a record Lable and a vehicle of cultural theft.
And Jamiroquai are nothing more than a FUNK Tribute Band as I and any other AUTHENTIC 70’s/80’s Funkster will tell you. So no matter what BS this bunch of Infiltrators write on serpent controlled Wikipedia or anywhere else as the 21st century progresses. There is nothing called acid jazz apart from a satanic record label and there is nothing new r unique on any Jamiroquai album. Black American Soul music of the 1970’s and the 1980’s was not invented here in London in the 1990’s and the 2000’s. Not by Jamiroquai or by a record label.
REMINDER
And below lets remind ourselves of the writing credits for 2001 A Funk Odyssey. Can you see any credit given to any of the bands who’s styles they have stolen? So in another 20 years they wish to be known as people who wrote all this music themselves. What do you think?
So “MR we don’t use any outside Influences” has once again been shown up for the lying little serpent that he is. Now lets go onto Dynamite….
You can already see they don’t know whats on this album! NU FUNK!!What the hell is that? Everything on this album Comes from the 1970’s and the 1980’s. They now also seem to think that “post disco” is a style of Black music… haha! and yes they claim this album contian this elusive acid jazz music genre…
…So please Click Below and lets see what is actually on this album and not what Gilles Peterson, Jamiroquai band members and the synagouge of Satan claim is on this album. Please click below.
soulboytales.com 