Rock Dust Light Star
Lets take a look at Rdls. Rdls is where Jam-Iroquai ceased to be a Funk tribute act. In their self written review they claim that they started off as a playing so called “acid jazz” in the 1990’s. This as you already know is because they (Eddie Pillar/GillesPeterson and their cabal) think people are too stupid to recognise Stevie Wonder and 1970’s FUNK when we hear it. They then claimed that they “explored different avenues” with Kay in charge of “creativity”. Total BS. The only creativity they showed was that of stealing other peoples sounds, merging them together and then claiming he wrote them. They were essentially replaying the Funk Timeline of the 1970’s/1980’s, hoovering up the sounds and grooves of Bands and singers of the era. Then signing their names to them. The first three albums more or less cover the early 1970’s, Synkronised and Odyssey are both basically post disco albums 1980 to 1983. And as you’ve seen Dynamite is a Funk/Pop album.
So RDLS is a different sound. Its more pop /Rock. I am Funkster so Synth Pop isn’t my specialty but it’s not out of my league because I remember these mainstream sounds. Being an 1980’s Man as well as a 1970’s kid I can tell you what all the different styles of music on the album are even if I can’t tell you who wrote them. And I know some of you will be interested to hear what I make of them. I can pick out the FUNK I hear obviously however this is a review of a synth pop album by a Funkster. So unlike the SOUL albums I cannot claim to be an expert on this sound. I know what the sound is as it was my 1980’s youth as well. This was the stuff you heard on mainstream radio and on the newly evolving television channels like MTV. And not obviously on SOUL pirate radio or in Soul clubs. We were an underground community in our own right. At least until the mid to late 1980’s when SOUL/R&B went mainstream. When you go back into the musical archives of our era 60’s/70’s/80’s you will see Rock charts, Punk charts, Country and Western charts, Pop Charts etc etc. We paid no attention to these other sounds we had our own Soul charts. However you couldn’t avoid hearing this stuff in pubs and on the radio as this was as I said MAINSTREAM.
So that said I am no expert on this sound and believe it or not I don’t consider myself an expert on FUNK. I know the FUNK and so will you after a few years when you go through all the recommendations in my work. And when you do never call yourself and expert. Fancy titles mean jack shit (Absolutely nothing). I have defeated very easily many a so called expert on the FUNK. And so will you (Truth-speakers) because you know what all the sounds are that this mob of cultural infiltrators are trying to reclassify as Acid jazz. Never trust a “music reviewer” or writer who gives himself fancy titles like music expert, or critic. Most of them are where they are not because of what they know but because of the particular community /Organisation they belong to or to who they have sold themselves to. For example their (Acid Jazz records) Satanic Wikipedia gatekeeper Michael Bink Knowles, A Wikipedia sock-puppet, an American Californian who doesn’t know where Essex is but considers himself qualified to tell Black Britons of the 1980’s what came out of this City in the era. A liar who tells us that “acid jazz” is a music genre because so-called album reviewers and “scholars” say it is. They don’t .
Acid Jazz records cultural appropriation records sock puppet Michael Bink Knowles1
American Michael Bink Knowles does not speak for Black Britain of the 1980’s. He’s not even British let alone Black British. Yet he according to Wikipedia and the anonymous writers on Wikipedia he’s considered an authority on a sound he doesn’t know and a community he wasn’t even a part of. How many “music experts” or “scholars” have you seen deconstruct the entire Jam-Iroquai Funk discography down to the last bass-lick, drumbeat and horn riff? None. Check out some of the reviews of Jam-Iroquai albums done in the past by “experts” and compare them to my work Soulhead Tales. I’m OK on The Funk but I would never call myself an expert. There is always something to learn. A band to discover. Giving yourself a fancy name or working on some flash Radio station means nothing. Neither does calling yourself a Wikipedia editor.
As I always say Judge people on their knowledge not on what they claim. You can judge what I know about the FUNK by your own ears. The groups and singers you see on this entire work is less than 1% of the music that was released in the 70’s and 80’s. And I probably know less than 5% of what was about. It takes me less than two clicks to find 70’s/80’s bands with thousands of views that I have never even heard of even after all these years in the Groove. The era was that good. Stevie Wonder is an Expert. James Brown was an expert. Prince was an Expert, Quincy Jones is an expert, Roy Ayers is an expert. For every Band I have mentioned they could probably name another 20 or more. They could pinpoint precisely the origin of everything in this document and not only because they created many of them. Catch my drift. Fancy names mean nothing. And when you have Eddie Pillar’s American Satanist re-writing the history of Black Britain you know there’s something wrong.
There Was Nothing “new” in New Wave
So onto the era of RDLS or the era that this album copied years later. As I already pointed out on the Funk Odyssey review in many of the mainstream music publications of the early 1980’s you will hear this sound described as “New Wave”. It wasn’t New, that’s total and absolute Bollocks. There was nothing new about it whatsoever. Again when you go back into your musical archives you will ONLY see the term “new wave” mentioned by the Mainstream media. Yes there was a new wave of music as the synthesizer took over the groove in the early 1980’s but there was NOTHING actually new about it. It had just became more popular. It was already there. All these sound had been in soul clubs since the late 1970’s as any fan of Parliament Clinton , Gap band Johnny Guitar Watson Herbie Hancock and co will tell you. The mainstream was always years behind THE FUNK. When mainstream pop bands started copying and mimicking these sounds inn the early 1980’s then all of a sudden they were “new” and invented by them. And that’s because the mainstream music writers didn’t have a clue where any of these sounds had come from.Y As if Stevie wasn’t doing the vocoder and synth back in the mid 1970’s. So you can see the parallels in 1990’s Acid jazz records/Jamiroquai who were at the time and are still trying to claim that all these old 1970’s/1980’s sounds were their invention. As if they invented James Brown here in London in the 1990’s!. Likewise just like with so called new wave we you will see so called music writers proclaiming Jamiroquai as some sort of second coming because they have never heard of Stevie Wonder , Earth Wind and Fire or 1970’s jazz Funk and Soul
The Sounds on RDLS–Bands/Singers To Listen To
I remember reading someone say that they thought some of the sound of this album came from ELO and that they were surprised when they found out it was by Jam-Iroquai. Now a 70’s Funkster who didn’t know Jam-Iroquai might be surprised to find out that something like Canned Heat wasn’t made in the 70’s or the early 80’s. We were told by the acid jazz/Jam-Iroquai cabal on Jamirotalk that there’s nothing from ELO on the album so knowing what I know about them I would say ELO should be the first band you check out! The album is mostly mostly Synth Pop, Soft Rock, This as mentioned is the stuff mainstream music lovers were listening to when we were listening to Electrophonic Phunk in the 80’s. So some of the 1980’s bands/acts playing this tyoe of sound were Ultravox, Soft Cell, Yazoo, Thomas Dolby, Bucks Fizz, Garry Newman, and especially New Order.
Also you want the late 70’s early 80’s sounds of people like Bryan Ferry & Roxy Music, Paul McCartney & Wings, Steely Dan, Doobie Brothers, Queen, 10cc, Genesis/ Phil Collins/ Elton John and stuff like that. Some call it Blue Eyed Soul but I don’t like the term. SOUL is SOUL. If you vibrate on it’s frequency then you can create it. THOSE WHO CAN’T CREATE IT STEAL IT. These guys created, they didn’t just mimick . Certainly they had influences but they were still talented in their own right. You could tell they all understood SOUL/R&B. These Guys could switch from Soul to Rock to Pop and even to Reggae then back again. Understanding all those sounds and then pulling off a hit takes some doing. Brit Funk/Pop bands like Duran Duran, Spandau Ballet, Haircut 100, ABC, and The Human League shouldn’t be overlooked either. Even though they weren’t always strictly Soul. They were playing mainstream stuff but they could all pull of the FUNK when wanted to as some of them proved later on. You have to remember that these inner city U.K kids of the 1980’s kids all grew up in the 60’s/70’s with James Brown, Stevie and MOTOWN. They were in the disco era too so although they were not as I say SOUL bands you can hear the Funkiness in many of the synth pop grooves of this era. To me pop was just mainstream fodder but synth pop was watered down FUNK
Some of these what we Funksters called borderline FUNK/POP bands collaborated in the 1980’s with American FUNK acts. In the U.K in the early 80’s we had Duran Duran and Nile Rogers collaborate with (The Reflex), The only Duran Duran record I ever bought, Human League went off with Jimmy Jam and Terry Lewis. Human was a massive hit cementing the U.K connection with the Minneapolis sound. Loose Ends Hanging on a string put to one side! Phil Collins and the Phenix Horns (EWF) on Sussudio. Earth Wind and Fire also worked with Level 42. Level 42 are true FUNK no doubt even though I must confess the Level 42 /EWF album was slightly disappointing. I was hoping to hear Mark slapping the Funk out of the bass with E.W.F blasting those horns in the Background. Or perhaps a duet with the four singers. Duet?… Quartet maybe.
So If you know an elder who has some of these Synth Pop bands in his or her record collections they will be able to help identify the original artists. I’m confident that any good 70’s/80’s UK/USA/global Pop DJ will get ALL the sounds on the album. If I can half recognise them then they most certainly will.
I can’t say what the guiding principle if any was behind this album….wait a min…Well actually yes I can. Its “we have run out of FUNK to plagiarise but lets make some more money by plagiarising rock and pop just like we did on the other album Dynamite”. They had made pastiches of most of the 70’s/80’s Black SOUL sounds. They had mimicked all the frequencies and claimed ownership of them. So they switched to Synth Pop and plagiarised that genre. This like the other albums are musical pastiches of other bands sounds. So this is the best I can do and where possible I will give you some recommendations. If you like the sound of RDLS then you will find it among many of the bands mentioned here.
She’s a fast Persuader
(Early 1980’s Pop/Rock/Soul)
-‘-
Unknown
Credited to
[Derrick McKenzie, Jay Kay, Matt Johnson, Paul Turner, Rob Harris & Sola Akingbola]
This is a fairly standard 80’s Synth Pop track that one would expect to hear from any number of guys like Howard Jones, Nick Kershaw and co. I recognise the intro but can’t place it. It’s immediately familiar-ish from a House/techno track of the late 80’s and early 90’s. So people who were in the Techno/House movement of the 90’s will recognise it straight away… we go into a Rock groove with the rhythm guitar. It’s a standard 80’s Rock groove so it could be anyone. Literally.l I know the harmonies and the voice in the chorus. Again it sounds like one of the early 80’s UK pop acts. Maybe Billy Idol. It’s delivered in the style again I remember from people like Howard Jones or The Pet Shop Boys but there will be others. Underneath the groove I can hear the Keyboards of 10cc’s (Dreadlock Holidays) The Latin Percussion and the bass throughout the track which bubbles to the surface right at the end sounds like the intro to George Duke’s (Brazilian Love affair). But again South American “Latin” percussion abounds in 70’s/80’s Funk, Rock and even Synth pop. You would have heard a track like this in the first half of the 1980’s.
Recommendations
Scritti Politi: Pray like Aretha Franklin
Genesis; Turn it on again
Steely Dan; Royal Scam
-‘-
Herbie Hancock; Hang up your hang ups (Percussion)
George Duke; Brazilian Love affair
David Bowie; Major Tom
The Police; Every step you take
Jazz-Funk/pop bands like Spandau Ballet, ABC and The Human League are recommended.
Lets go onto the next track…..
Just can’t get enough
(Early 1980’s Funk)
-‘-
[Roy Ayres/Peaches and Herb/Forrest]
(Credited to?)
An Album filler. It sounds like a loop of a Roy Ayres track. If you went to a Roy Ayres concert in the 80’s this is what an interlude sounded like. (Everybody) and (We live in Brooklyn) spring to mind. This is more 1981/82 than 1979. It has the underlying rhythm of (Funtime) by Peaches and Herb or (Pop life) by Prince. The chorus sounds like Forrest on (Feel the need in me). Some of the underlying atmospherics sounds like Ronnie Laws (Stay still and let me love you). The Keyboards sound like Brass Construction (Movin’) the Horn section of which I think Hooked up is based on. The Phenix Horn section (EWF) supply the rest on Getaway and Jupiter. Roy Ayers; (King George), in there somewhere maybe. The “Wowowowwo” sounds like Johnny guitar Watson or George Benson and Perhaps there’s something from the Olympic Runners in the chord switches of the guitar (Keep it up) and the lyrics too. This is early 1980’s, it’s sparse and dark without the violins. I know I’m missing something somewhere. I will find it, I always do. So this is a weak track and as I say basically an album filler an interlude. You will find interludes on many 1970’s/1980’s albums. Earth Wind and Fire were well known for it. The interlude was a short track lasting anywhere from say 30 seconds to a minuet. It could have been something left off of a track, something they couldn’t fit in anywhere or perhaps just a groove they wanted to share. This track would barely have made the B side of a late 70’s early 80’s Funk single. If it’s based on a particular track then I don’t know it.
Goodbye To My Dancer
(Late 1970’s & 1980’s Commercialised Reggae)
-‘-
Credited to
Jay Kay, Matt Johnson, Rob Harris
Don’t know. Sounds like 10cc. (Dreadlock Holidays) again so explore their albums you might find the answer to this track and others on this album. Canadian and American Reggae had a different sound from most of that in the UK. As my old mate who owned the famous Soul record shop in The Brixton underground (Tube Station) uses to joke “Americans don’t understand Reggae”! (Ooo lalala) Kool and the Gang or (Funky Reggae) by The Stone City Band, didn’t really cut it with the London reggae crowd. It just sounded “wrong”! Though I’m sure there were plenty of good underground American reggae bands we never got to hear about as they have a large Jamaican diaspora over there. This track sounds like It’s based on something that came from across the pond in the late 1970’s and the mid 1980’s. This is commercialised Reggae. Who would have released a track like this? Maybe Performers like Queen, The Doobie Brothers, Bowie, McCartney, Elton John, Steely Dan, Howard Jones,The Police, or Boy George and Culture Club in the 1980’s.
Onto the next track….
Blue Skies
(1970’s /1980’s Pop/Rock/Soul)
-‘-
(Credited to)
Jay Kay & Matt Johnson
Don’t know. Sounds like Elton John or pop singer Robbie Williams
-‘-
Two Completely different Things
(1970’s/80’s Soul/ Two Step/Pop)
-‘-
Credited to
Jay Kay & Rob Harris
This is a bit easier. It’s in the groove of Omar the godfather of what people call British Neo Soul. Explore his albums. He is one of our 1980’s/1990’s FUNK gods being written out of history by Eddie Pillar and acid jazz records. In favor of fakes and plagiarists like Jamiroquai.
Stevie Wonder/ Carl Anderson; Buttercup
Leon Ware; Rockin’ you Eternally
[Brit Funk] Omar Lye Fook; Music
(Leon Sylvers III )-Dynasty; Adventures in the Land of Music
Steve Wonder / Omar lye Fook; Feeling you
Donald Byrd; You and Music
The Barkays; You can’t run away
*Also sounds like George Michael
Next track is…..
That’s not the Funk I want
(Circa 1660’s Folk music late 80’s and 90’s House/Techno)
[Basement Jaxx and Stelye span]
(Credited to?)
That’s not the FUNK i want? Well thats hardly a surprise because it isn’t Funk it’s House. Or at least what people called House in the late 1980’s. That and the intro which sounds like (Dowdaytay) by Stelye Span. An old folk song from the 1970’s. All U.K schoolkids of the 1970’s remember that song. The Synth and groove sounds like one of the remixes of Basement Jaxx (Where’s your head at) Jean Élan. So it’s the 16th century meets the 1990’s techno age. Correct it’s not the Funk.
Hang It Over
(60’s/70’s “psychedelic” SOUL & 20’s/30’s Charleston)
-‘-
[Stevie Wonder, Billy Preston & Earth Wind and fire]
Credited to
Jay Kay & Rob Harris
Ah, now this sounds familiar. It’s the Stevie/ EWF combination again just like (Anything you want me to do). It sounds like the Retro 1920’s /1930’s stuff that they were doing in the early 1970’s. Earth Wind and Fire (Yearnin’ Learning & Sing a message to you). Lyrics …“Futures fuzzy but it’s right” sounds like vocals of E. W. F on (Pride). Billy Preston’s (Fancy Lady & Nothing from Nothing) also spring to mind.“Uhuh ye heh” That sounds like the 1960’s from The Monkees or the Beatles era. Which means Little Richard. Not from the Brothers Johnson; (Ain’t we Funkin) now recommended for (Too young to die). Stevie Wonder (Ebony Eyes or Take up a course in Happiness) are recommendations for this sound. The ending sounds like the psychedelia of Sly Stone or his cousin Larry Graham. You can get stuff like this in the early 70’s Sly and the Family Stone albums, The 5th Dimension in their (Age of Aquarius) time period, bands like Creative Source, Minnie Ripperton and her crowd and many others. Read up about 60’s flower power and the Hippies to understand the time period and what music the 1960’s kids were listening to. Its a catch all track like (Just another story). To me this sound was the likes of Stevie, EWF and others playing tribute to the stuff their Parents or Grandparents were listening to in the 1920’s and 1930’s. So I suppose you could call it their “Rare Groove”. Kay and Harris call it their invention. It aint.
Next track….
Hey Floyd
(Soul, Reggae, Pop)
-‘-
[Herbie Hancock/ Rose Royce/Third World]
Credited to
Derrick McKenzie, Jay Kay, Matt Johnson, Paul Turner, Sola Akingbola
Reggae style bass, “Latin” Percussion. The groove has the underlying ambiance and the keyboard sound of Herbie Hancock’s (Twilight Clone). It has the “dark” Violin sound of post disco Rose Royce (Is it love your after) So Nile Rogers/ Sheila B Devotion (Spacer) will be of interest. The track continues…The Reggae now sounds like something off of Third Worlds (96 Degrees Album). Some of the strings have the ambience of an Elton John track. He liked a bit of Reggae so it could be him. He did Caribbean sounding track called (Passenger) in the 80’s. It “feels” like Elton John but I don’t know any of his albums only the singles I heard on radio.
Hurtin’
(1970’s /1980’s R&B/Rock)
-‘-
[The Beautiful South & Others]
Credited to
Jay Kay & Rob Harris
Sounds like it’s copied from (Perfect 10) by Rock band The Beautiful South. Some of the guitar sounds like the Meters (See Hooked up reccomendations), or Kidd Rock from Funkadelic. The vocals “how the hell did I loose ya” sound like atrackfrom the 1960’s or early 70’s lost in memory i am afraid. A bit like something Sly and the Family Stone or Maybe Ike and Teena Turner or Chaka. I don’t know enough about late 60’s early 70’s psychedelic Funk/Rock fusion to say whose style it is or where they copied it from. If it’s from the 80’s then you might find it on a Prince or a Lenny Kravitz album? Living colour maybe, in other words this FUNKSTER doesn’t have a clue. I really don’t know. Ask Kay and Harris.
Next track….
Lifeline
(British Commercialised Soul)
-‘-
[Elton John & Stevie Wonder]
Credited to
Jay Kay, Matt Johnson & Rob Harris
DUNNO….. a bit like Elton or Macca:
Sounds like Elton John in the 70’s at the Time of Yellow Brick road.
Elton John; Yellow Brick road
Paul McCartney; Wings
The chorus sounds like Stevie Wonder’s (Ebony Eyes)
*Stevie Wonder is a major influence on Elton John.
Next Track…..
All good in the Hood
(Late 1970’s early 1980’s Pop commercialised Soul)
-‘-
Credited to
Jay Kay, Paul Turner & Rob Harris
JR Machine; Make your body move
We are in 1979/80. The intro sounds like Brit-funk Bee Gees (Dancing Now) or Billy Ocean’s (One of them nights). Or maybe in 83/84 Shake (Make your boy move) Stone City Band. There is another track which is similar which will come to me.. The pronunciation of “again” is the same as “Hey Floyd”. Remember Kay mimics the vocal styles of people he robs. He sang in the style of Maurice White on Planet Home for example. So that will be a clue. The bridge of “All good in the hood tonight” sounds a bit like the bassline to Rod Stewart’s (Do ya think I’m sexy) “a little bit of tension make the world alright” sounds like Steve Arrington on (Stepping out) by Slave; (“Can’t you see me looking at you”)… There’s an Element of (Love is the drug) by Bryan Ferry & Roxy Music. So it has a British feel to it. Olympic Runners, Queen, Rod Stewart etc. I don’t know if it’s based on a particular track of Roxy Music. “Tears are falling down like rain” At a guess if its based on a particular track the you will most likely-find it between 1979 and 1981. There’s another track out there similar to this that I remember but I can’t place it. Dunno. Explore the sound of Roxy music when they were Disco-tising their sound.
The next track
Snooze you loose
(1980’s Reggae/Electrophonic Phunk/Rock)
The style sounds like Prince and the Revolution. (Minneapolis sound). The intro is reggae and sounds like the intro to Third World’s (96 degrees). Some of the style sounds like Stone City Band’s (Bad Lady) so yea maybe (All good in the Hood) rips Slick Rick and Prince.
No one was Snoozin….. Well I wasn’t…….. The SOULHEAD TALES proves that.
Next track…..
Rockdust Light Star
1970’s /1980’s Pop/Soft Rock
Unknown
Credited to
Jay Kay, Matt Johnson & Rob Harris
No idea who they copied it from. If they did. I t’s a soft rock track and that’s about all I can tell you about it. Ike and Tina Turner’s style maybe. Elton John, Queen, Bowie. Elo, Steely Dan, Prince… no idea. You need to speak to a Rock DJ.
Next track…..
Never gonna be another
(1970’s Soft Rock/R&B)
[The Barkays]
Credited to
Jay Kay, Matt Johnson
The Barkays; Anticipation
The Beatles; Something in the way she moves
From Patrice Rushen, and Prince to Elton John and George Michael. This is just a standard 70’s/80’s Soul Ballad.
Smoke and Mirrors!!!– DO NOT WORK WITH MUSIC.
(1970’s /1980’s Pop/Rock/Soul)
[Herbie Hancock & Bryan Ferry]
Credited to
(Jay Kay, Matt Johnson & Rob Harris)
So it’s 1970’s Herbie Hancock style atmospherics. (Hang up your hang ups). The groove is Basically Roxy Music’s (love is a drug). So it’s essentially a Bryan Ferry track. I also recognise the Lyrics “Tonight my dear” It’s familiar from another track in the Late 70’s early 80’s. Yep, go though Brian’s stuff and I’m sure you will find a lot on there of interest.
So the smoke and mirrors don’t work with me on this track either.
Next track…..
White Knuckle Ride (Can we get away with it)
(1970’s /1980’s Funk/Rock/Soul)
Credited to
(Jay Kay & Matt Johnson)
A white knuckle ride (Can we get away with it?!).
The intro is familiar from the late 80’s (House/Techno) The Bassline however is a Funk Bassline. The keyboards in chorus also have the late 80’s and 90’s House sound. Late 80’s Techno ravers will recognise it. Some of it has the feel of commercialised soul of 1978/79 into 80. Like Simple Minds (Promised you a miracle) which was another FUNK track played by a Rock band. I remember some of their fans didn’t like it. Anyhow, Roxy Music again. One for the Techno and Rock crowd to interpret. Not my Groove.
Next track….
-‘-
Natural Energy
(Mid to late 1980’s Funk)
(“writer” unknown)
An unknown track apparently released in 1988. Sounds home made. The sort of stuff 1980’s kids used to knock up in their Bedroom with the new amazing technology of the time like drum machines and samplers. Stevie Wonder style harmonica. The Bassline is familiar. It has the James Brown drumbeat from (Get on the Good foot) which was being heavily sampled at the time. Ironically it sings about using ones Soul, and the fact that we’ve got to live together
-‘-
Brothers Like You… NOT
(1970’s Funk)
Pleasure/ Melle Mel
(“writer” unknown)
Elements of (Step off) by Grandmaster Melle Mel. The rest is Generic 1970’s Funk. The groove is familiar. It comes over like a watered down attempt at a Pleasure song. (Can’t turn you loose) for example, see recommendations on Hooked up. The step down in chords @ “c’mon” sounds like classic Pleasure, and we’ve got the Roy Ayres lead guitar from (Cincinnati growl). Some of it sounds a bit like Donald Byrd’s (Thank you for Funkin up my life). Some of it sounds like The Commodores during the early 70’s around the time of the Machine gun album. (I feel sanctified) for example. It might be the Isley Brothers as well.. ‘Brothers and Sisters” is from an old James Brown track by the way of “Brothers and Sisters” by The Brothers Johnson who gave us The Great Awakening & Brother Man. Could have been done by anyone in the 1970’s.
Ironically it sings about racial harmony.…FROM A SERPENT
Next Track….
Angeline
(Credited to)
(Jay Kay & Derrick Mc Kenzie)
The Intro sounds like Temptations (Papa was a rolling stone) The chorus of Michael Jackson’s (Beat It) looped, the Intro of (Can’t turn you loose) by the ever re-appearing Funk band Pleasure. A bit of 1970’s bass pop instead of the Commodores style slap. Doesn’t go anywhere at all.
So there you go. That’s the Funk I can hear on RDLS. It’s a pretty weak album. As I said they had nothing left to copy. And as you can see Rdls follows more or less the same template of all the previous Albums. That’s Snippets of other peoples music. Copied, ripped and plagiarised as far as I can hear. Nothing new nothing unique, and absolutely nothing innovative. All sounds and styles familiar to me even though I can’t name all of the artists and as I said, a Rock/House enthusiast will get them.
They were confident that they had claimed ownership of all the FUNK frequencies they had stolen. Pillar, Peterson and their mob were churning out mix after mix of FUNK being re-classified as Acid Jazz. As you can see by the titles of their songs-Snooze You Loose and White Knucke ride they thought they were almost safe. Within a generation no one would be able to claim they didn’t invent all these sounds. That was before THE SOULHEAD TALES and Ten Easy Ways To Debunk The Acid Jazz Lie.
SO LET 1990’s JAY KAY AND JAMIROQUAI NOT RE-WRITE MUSIC HISTORY
The only people whom you will ever hear claim that the like of Jamiroquai or their mates in Acid Jazz records invented or created anything are those who don’t know the sounds of the 1970’s and the 1980’s or those who are part of their GLOBAL disinformation campaign.
Now lets on to Plagiarism on Automaton….
soulboytales.com 