TRAVELLING WITHOUT MOVING
(CLAIMED AS) THE 1990’s BEST SELLING FUNK ALBUM….
WHICH MAKES IT THE BEST SELLING FUNK ALBUM……OF RIP OFFS AND OTHER PEOPLE’S TALENT COPIED FROM 1970’s & 1980’s JAZZ, FUNK AND SOUL.
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The correct context for this mid 1990’s album and the time period. (The Funk Drought)
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Jamiroquai- Wikipedia More Lies and the False Re-classification of Black Music
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Travelling Without Moving– Plagiarism as I hear it.
THERE IS NOTHING IN OUR MUSICAL CULTURE AND HISTORY CALLED ACID JAZZ EXCEPT AN INFILTRATOR RECORD LABEL TRYING TO CLAIM OWNERSHIP AND RESPONSIBILITY FOR OUR MUSICAL CULTURE.
Travelling without movin is a Soul album. Despite the fact that Eddie Pillar and his mob claimed during the 1990’s and still claim in the early 21st Century that this is or at least contains tracks which are “Acid Jazz” (invented by their co-founder Gilles Peterson)….There is no such thing as a Music genre called Acid Jazz. Acid Jazz was not and is not a style of Jazz, of Funk or of Soul, A genre or a sub-genre. It does not exist. Which is why they can’t tell you the name of a single so called acid jazz track. At no time and at no stage during the 1980’s was there ever a Black Music genre invented here in London called Acid Jazz.
Regardless of what these plants in and usurpers of 1970’s/80’s Black Britain Eddie Pillar, Gilles Peterson and their global gang claim. At no time and at no stage did any of us EVER refer to any style of the Groove as acid jazz. We had Acid House but there was NEVER anything called acid jazz which is why you will find no reference to this lie in any Black Music archives of the 1980’s. Acid Jazz is a serpent record systematically re-classifying all styes of 20th Century Soul Music in their ongoing attempt at cultural theft through deception. Acid Jazz records is an Infiltrator label in Black culture for a purpose. It is not and never has been a musical genre. You will find no sound called acid jazz in any of my reviews and breakdowns of all these tracks. That is because there is no such thing.
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The correct context for this mid 1990’s album and the time period. (The Funk Drought)
On their Jamiroquai Wikipedia, a page which is controlled by Jamiroquai band members who delete the truth we are told that this album apparently is the best selling Funk album of all time. According to the Guinness Book of records. REALLY? Well if that is true then it means absolutely nothing as by that time the Funk was dead. This was the mid 1990’s. The days of 70’s/80’s FUNK were long gone. By now the Disco kids were in our 30’s and 40’s. Our era was over. All the younger kids were into Neo Soul rap, Jungle /Drum and Bass. techno etc. There was literally nothing for us to listen to any more. As any 1970’s /80’s Funkster will tell you the 1990’s were for us dark days. The musical gods of our era were no more. Everything we heard if we even bothered to listen to the radio we had heard before. It was all samples and replays. There was nothing new in terms of Jazz, funk and Soul in the 1990’s (The digital genres Jungle D&B excepted). Those who claim there was as Jamiroquai try to do on this album are lying as I will prove to you. THE FUNK WAS DEAD. The new generation had taken over.
There is nothing special about this album. It just a series of rehashes, musical snapshots and styles of various 70’s/80’s Bands. So if anyone in the future tries to proclaim Traveling without moving as something special because of the numbers sold then remember what time period this was. A lot of the people who bought this album would have been musically starved Funksters of the time period like myself. Desperate for something which reminded them of the old days and the time of their youth. And whilst we Disco era kids recognised these sounds a lot of people thought they were new.
To sell a high volume of albums when there was no Soul around, with no real competition, coupled with the fact that they had mainstream airplay when our real Soul bands of the Disco /Post Disco era could barley get any airplay at all and had to rely on Pirate radio means there is no comparison whatsoever to the selling figures for the Soul bands of old.
And most importantly if Travelling without moving is the best selling Funk album of all time then that is because of the talent not of Jamiroquai but of the musical geniuses who actually created these sounds up to two decades before hand. The people, bands and singers they ripped off on this album without giving due credit. Signing their names to their talent then claiming they wrote these songs all by themselves as you will see in their album credits. If this is the best selling Funk album of all time then it is the greatest selling album of other peoples music…..of all time! Don’t take my word for it. See my review of this album below.
A “BEST SELLING” RIP OFF OF OTHER PEOPLES TALENT.
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Jamiroquai-Wikipedia More Lies and the False Re-classification of Black Music
So lets take a look at how they are categorising this best selling album of other peoples talent and…..A Funk AND an “Acid Jazz” Band? OH REALLY? So according to Wikipedia’s understanding of Black American Soul Music Jamiroquai are playing THE FUNK ….AND a music genre called acid jazz. This is the genre we are told by this same fraudulent organization came out of my City of London England . DESPITE THE FACT that there is no reference to this anywhere in any Black music publication of the 1980’s in any Club report on any Soul chart or indeed on any Black Music television program That and they cant tell you the name of a single acid jazz track….So Where is this Gilles Peterson’s “acid jazz” then? Lets see if we can find out
So again as you can see they are claiming that Jamiroquai are a Funk AND an Acid Jazz band! Inference being that at least some of the Music on this Album is a non existent Black music genre Eddie Pillar and his mob of history revisionists claim came out of London in 1988 invented by Gilles Peterson. A former Invicta FM Pirate Radio DJ and co-founder of Acid Jazz records, No such genre exists. That is why they can’t tell you the name of a single track which belongs to this mythical genre. So after this so called “genre” was invented by Gilles Peterson in 1988, then apparently according to Wikipedia, Jamiroquai spread this “genre” to the United States along With the Brand New Heavies. Brilliant. So 1990’s Acid Jazz records introduce America to FUNK and all these AMERICAN sounds of the 1970”s and 1980’s….Yup.
GILLES PETERSON FRONT MAN FOR THE GREAT THEFT OF FUNK
A Funk band who play Gilles Peterson’s non existent “Acid Jazz” genre. Ask Gilles Peterson to tell you what sound he claims credit for on these albums.
Now lets take a look at some of the other total and absolute rubbish they have written on the page they have taken over to delete comments on. I see they hilariously claim the track Alright “mixed new synthetic sounds”. Really? What are they talking about? as any 1970’s/1980’s Funkster would say, I didn’t hear anything new. Total and absolute Bollocks. All they did was Rip off Candido and Idris Muhammed as you will see below. That sound was around when I was a teen in the 1970’s and before. Bands like Aurra and Slave used that style way back in the post Disco era. These sounds go back to early 1970’s Jazz Funk. Back to Herbie Hancock, Lonnie Liston Smith, Roy Ayers and of course Stevie Wonders Keyboard. How on Earth is this new?
Stevie’s Songs in the Key of life album 75/76 had new synthetic sounds we had never heard before. Go listen to what Berry Gordy said about that Album. Listen to What Herbie Hancock said about that Album. And speaking of Herbie they might want to go and listen to some of the Stuff he did in his Head Hunters days. Didn’t Jamiroquai do a cover of God Make me Funky? They must know the sound of Herbie’s 1970’s Keyboards! See what What Elton John and Even George Michael said about that game changing album Songs in the key of life. An album which helped Kick start the synthesizer of the Disco era. There is absolutely nothing that is unique on any Jamiroquai track. The only unique thing about Jay Kay and Jamiroquai is their ability to steal other peoples sounds and then try and mask them. They cannot mask Funksters from their own sound or youth. There were no “new synthetic sounds” on this album or on any so called 1990’s /2000’s Jamiroquai album. I know all these sounds from 70’s/80’s Funk, so do most Funksters and soon so will you.
And with these little snippets of BS always keep in mind they are trying to create myths about themselves. Just like Eddie Pillar Gilles Peterson and Acid Jazz records are trying to create a myth about themselves as being responsible for all these sounds by re-christening them Acid Jazz. They are trying to write themselves into history. Trying to make themselves look as though they were relevant to the development of Soul music. I say that but remember they claim it’s their acid jazz. Jamiroquai are trying to give people the impression that they are evolving or changing as a band when all they are doing is systematically Travelling and moving through the FUNK timeline. Copying and pasting other peoples sounds, identities, Frequencies and grooves, merging them together and then claiming that they wrote them. Kay thought as you can tell by Quotes by Jay kay that no one would recognize all that stuff from the 1970’s in the 1990’s. He didn’t write any of these songs. They were created for him to sing. They are trying to carve an image of themselves as being a band of music geniuses. These myths are to fool the next generation and their 1990’s fans who don’t know who Earth Wind and Fire, Herbie Hancock, Roy Ayers or Patrice Rushen are or any of the bands that they stole all the rest of their music from.
New synthetic sounds! They are trying to kid people into thinking that they created something new in the 1990’s. That they were Innovating when all they were doing was picking the pockets of original Funk. An unfair situation that made me decide to write this Document. A document they cannot defeat. So far have you seen them give any credit to the people they have stolen from, other than Johnny Hammond and Vernon Burch I think?
Okay now more hilarity…Probably the funniest part of all..here are the Writing credits for Travelling Without Moving……..
As you would expect MR “we don’t use outside influences” claims credit on every track. And he would have history believe that he’s responsible for all these sounds. So see what you make of My review of this album.
3) PLAGIARISM ON TRAVELING WITHOUT MOVING- As I hear it
Now onto the album. About bloody time I hear you say. Well remember the background is necessary because in a few years time these serpents would have tried to wipe the knowledge of authentic 1970’s Funksters like me from the web replacing us with 1990’s/2000’s writers who think funk is called acid jazz and have no real understanding of Black music of the 1970’s/1980’s. Or who are on their dis-info Payroll. They will paint these albums as being unique, innovative or an evolution and they are already doing it now. They are re-writing history all over the place. Just take a look and see how many fraudulent websites there are out there STILL claiming that Acid Jazz is actually a music genre. Or proclaiming Jamiroquai if they are some form of musical geniuses. Everything I tell you can be verified by your own ears and then by the musical print and visual archives of the 1980’s.
As I have already said. Travelling without moving is a series of pastiches of familiar sounds and songs from our era. Its correct classification in the 1990’s would have been a Rare Groove (Retro 1970’s Funk) album. The only people who call it an acid jazz album are liars or those who don’t know what retro 1970’s Funk is or sounds like. Travelling without moving is a 1990’s replay of the sounds authentic 1970’s/1980’s Funksters remember from the days of original FUNK I lived the original era and know these sounds so I can offer you many recommendations, in addition to the tracks I think they lifted the songs from. I also give you the odd bit of background information and the context to some of these sounds. Better to assist those of you learning about the Funk. And of course destroying the lies of the serpents who claim these sounds came out of this City in the late 1980’s invented by a DJ who had never had a hit in his life.
NONE of these sounds “came out of London in the mid 1980″s. No record label or DJ invented Black American Jazzfunk or ANY sound and there is nothing called “Acid Jazz” or “Club Jazz” on this album either as there are no such genres. Both names were dreamed up by that mob who think they can fool people on the sounds of FUNK, reclassify it then culturally appropriate it. Then in years to come (As serpents always do) they will Sell it back to the Planet as their invention, just as Eddie Pillar and his global cabal are doing now in the early 21st Century. Their theft of Black culture is dependent on deceit. On smoke and mirrors. As I will show below you cannot Fool a Funkster on the FUNK. Which is good for you because I have a whole load of “The good Groove” (another term we used for the FUNK) to offer you New Millennial Funksters.
SO STEP THROUGH THE DOOR BACK INTO THE ERA OF ORIGINAL AUTHENTIC FUNK….
Travelling Without Moving
Released 1996
acid jazz
SOUL /R&B
Acid Jazz is a Lie-“Acid jazz” is an attempted cultural theft
Virtual Insanityacid jazz
(1970’s/1980’s FUNK)
SO LETS SEE WHO’S MUSIC IS ON “THE BEST SELLING FUNK ALBUM” IN HISTORY. AND THE FIRST TRACK…………….. IT’S….. STEVIE!……. WHAT A SURPRISE!
The late Disco era/Post Disco Piano sound was not invented in the1990’s and it is not called Acid Jazz just because Gilles Peterson, Eddie Pillar and Acid Jazz records claim that it is..
Virtual Insanity sounds like the end of (Samurai) by Djavan Luz extended. The Piano sounds like Queens New York again. Don Blackman on (hearts desire and never miss a thing). This is the post disco era, the start of the 1980’s when many artists were trying to avoid using the synth and opting for the Piano instead. There was quite a bit of piano in the groove around 79 into 81/82. There’s what sounds like Marvin Gaye’s (Come live with me Angel) and Roy Ayers on (Ooh). The “ooooh” also sounds like Marvin Gaye on (What’s going on). Something in the groove has always reminded me of the intro to (Got to get you into my Life) by EWF. There are many other examples of the Funk Piano from the very late 70’s and early 80’s below. Some of my recommendations for (Slippin’ and Sliding) might also appeal to fans of Virtual insanity. For me Virtual insanity is basically Queens/ Djavan Luz and others. Yup, Stevie. Below is my breakdown of the track and recommendations.
Virtual Insanity
acid jazz
(1970’s/1980’s FUNK)
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[Stevie Wonder/ Djavan Luz/ Don Blackman/ Marvin Gaye/ Johnny Hammond]
Credited to
Jay Kay & Toby Smith
Stevie Wonder/Djavan Luz; Samurai
Don Blackman; Hearts Desire & Never miss a thing
Zinc; Punkulation
Marvin Gaye; Come live with me Angel & Whats going on
Roy Ayres; OOH
Cameo; Soul Tightened
Cameo; In the Night & feat Miles Davis
Johnny “Hammond” Smith; Can’t we smile
The Gap Band; Outstanding, I found my Baby & What a Feeling
Peaches and Herb; Funtime
Bernard Wright; Bread Sandwiches & Chillin’ out
*Patrice Rushen; Gone with the night
SOUL vrs Pop Drumbeats. Gone with the night a fantastic atmospheric track is a FUNK track but the drumbeat is from pop music which was slightly faster in many instances. Kleeer’s (Ride It) also had the same. It wasn’t unusual for SOUL artists to do the odd commercialized track aimed for the masses. (Neutron Dance) and (So excited) by the Pointer sisters were other “Crossover”tracks (designed for the mainstream). Listen to the Beverly Hills Cop soundtrack to get some idea of what this style of Pop music sounded like and what speed it was played at. (Party all the time) With Rick James and Eddie Murphy was a commercialised track. Pop music was mainstream stuff.
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More Recommendations.
Joanna Gardner; Pick up the pieces start all over again
(Stevie Wonder) Michael Jackson; I can’t help it
Lonnie Liston Smith; Island in the Sun
Earth Wind Wind and Fire; You and I
Earth Wind and Fire; Got to get you into my life-[Intro only]
*Virtual Insanity supposedly carries a classical music piano sample, possibly by Chopin.
[The Piano sound of the Post Disco era]
We got the Piano going back to the 1950’s and the earliest days of R&B Soul so we invented nothing new. There’s plenty of piano in early 1970’s Jazz Funk from people like George Duke, Jeff Lorber and that crowd. As the sound progresses to me it began to feel different. Slicker and cleaner. It had a fresh feel to it and the harmonies were fantastic. When I look back now you could sense the Groove evolving. At this time in what we call the post disco era the piano in many instances took center stage or added a bit of class to the groove. It made the sound more dramatic /romantic if you like. With the sickly sweet orchestra and the violins fading out the piano kept at least some of the emotion in the groove. Here are a few examples. Enjoy!
Cela (Formerly of CHIC) ; I’m in Love
George Benson; Turn your love around
Fonda Rae; Over like a fat rat
Patrice Rushen; Number One
Michael Jackson; Working day and night
*Change; You are my number one
*Kano; Can’t hold back your lovin’
HISTORICAL NOTE *I have seen these two tracks (You are my number one) & (Can’t hold back your lovin’) described as Italo. No they are NOT. They are as you can hear straight FUNK tracks. You have many examples of the same sound here so anyone in the future claiming CHANGE, Kano or any other FUNK band as Italo don’t know what they are talking about and should be dismissed. The fact that the producers were Italian does not make it an ‘Italian’ genre or sound. They were Playing in a groove which had already been created by the likes of Brainstorm, CHIC! or Cela who came from CHIC! Likewise a I see straight disco or borderline Disco tracks being described as Italo. No they are straight Disco tracks or borderline disco tracks that came out of or were produced in Italy. We had many Brit Funk bands and we called our sound Brit Funk. But it was still American Funk. So when you hear or read people describe this track or that track as Italo know that they do not know what they are listening to.
Odyssey; Going back to my roots
*This track was a major major Disco era hit In the late 70’s thanks to a T.V program called Roots about the struggle of the African Americans during the days of Slavery.
[Brit-Funk]-Imagination; Burning up
I have also seen this Jazz Funk classic, blasted out by Greg Edwards at the Best Disco in Town, described by 80’s kids as the first ever House track. That means Chicago House came from London! Well I don’t know what makes this House track. Possibly the piano maybe. To us 1970’s types House is just the continuation of the Disco beat. This is classic Jazz Funk so you’ll have to ask a House Head why they consider this to be House.
However there is a version of Back to my roots which sounds pretty Housey to me
More Recommendations– The post Disco era Piano sound….
Roy Ayres; Together
Earth Wind and Fire; Something special
Kool and the Gang; If you feel like dancing
[Brit-Funk]-Linx; You’re lying
GQ; Is it Cool
Harvey Mason; Till you take my Love
Gladys Night and the Pips; Bourgie Bourgie
[Brit-Funk]-Freeze; Rollerchase & Mariposa
Convertion; Let’s do it
Logg; Something Else
Klique; I can’t shake this feeling
[Brit-Funk]-Shakatak; Stranger & Night Birds
Glen Jones; I am Somebody
The Isley Brothers; Jeepers creepers (1961)
So the Disco/post Disco era Piano is just that. 1970’s/1980’s FUNK. There is nothing in virtual insanity or on any jamiroquai album called “acid jazz”.
Lets move onto the second Track on…
THE BEST SELLING FUNK ALBUM OF OTHER PEOPLES TALENT.…
The sound of South America was not invented in east London in 1987 by a DJ
1970’s Disco era FUNK/SAMBA was not invented in the 1990’s and it is not called Acid Jazz just because Gilles Peterson, Eddie Pillar and Acid Jazz records claim that it is..
Cosmic Girl
acid jazz
(1970’s Disco era FUNK/ Black South American sound aka Latin)
It’s 1979/1980-Samba vrs Disco
CHIC! Nile Rogers and Bernard Edwards Were not invented in the 1990’s by Jamiroquai. As you have already worked out, it pays to be careful what you read on the Internet when it comes to Black Music. I saw a review by a Mainstream newspaper “Music writer” who claimed that people heard this (1970’s Disco era sound) the first time round in the 1990’s! Well no you didn’t. Now one would think that people writing for famous mainstream newspapers would have some idea what of 1970’s Disco era music sounds like. Surely a mainstream music “expert” even if they weren’t alive in the era would at least have done enough research to know what the Disco era was. Apparently not. Cosmic Girl is a 1970’s sound. Mid to late 1970’s. And the Black South American sound (Samba) was not invented here in London in the 1990’s regardless of how many Bossa Nova/Samba/Salsa compilations Eddie Pillar prints with the words This is Acid Jazz over.
Cosmic Girl to me is the energy of 1979 into 80.The golden year. Cosmic Girl is energy of the late 1970’s at the height of the Disco era. We heard this sound the first time around in the nightclubs of the day. People used to site Deodato when they spoke about this track, but this groove was done by others. Cosmic girl basically follows the template of Hyldon’s (Vem Dançar o Samba). The bass line sounds like MFSB; (K-Jee) as do aspects of the groove. The Latin percussion however has been removed and replaced with a straight Soul drum pattern leaving only the Latin style keyboards. So the groove is really just Disco era FUNK. The intro sounds like the keyboard work of Pleasure but again there’s plenty of Synth like this in the 1970’s. The ‘strike’ of the Violins ala CHIC’s (Good Times) and the bassline at the start of Cosmic girl is Nile and Bernard to anyone who knows what the Disco era was. (The Greatest Dancer) with (Sister Sledge), (My forbidden lover), ( I want your love). Bernard Edwards style of Bass was distinctive. The (Good Times) Bassline has to be one of the greatest FUNK basslines of all time. Famously used by The Sugar Hill Gang on Rappers Delight.
The Chorus– The chords in the Chorus sound like (Every body Dance) making this basically the energy of CHIC as I have already stated. Sweet choruses of course abound in the era. That was one of the templates for Disco era FUNK. We had the Intro which often sounded completely different to the rest of the track, Then came the funky bassline driving the Groove, the sweet chorus then back to the Bassline. . This track mimics the emotion of CHIC the dominant sound at the time, of SLAVE’S new frontman Steve Arrington and Starlena. Obi Onihoyah’s (Enjoy your life) The choruses of (Stomp) by The Brothers Johnson, The Commodores (You’re Special), and many many others some of which are included in my recommendations below. The sound of 1979/80.
Bernard Edward the Bass genius of CHIC!
Landing on the right note- Bernard Edwards of course is the other Half of the CHIC! Empire. His Basslines were absolutely out of this world. Now when you listen to 70’s/ 80’s Basslines they are mostly functional to coin a phrase,. By that I mean they drive the Funky groove and rhythm of a track along with the drums. That’s what often grabs your attention first, but they rarely deliver the Sweetness of the groove. That generally came from the Orchestra, The horns, The Strings, The Violins the keyboards and such. And mostly in the chorus. Take (Stomp) or (Ain’t we Funkin now) by the Brothers Johnson for example. The basslines are terrifically Funky but the sweetness is confined to the chorus and Bridge respectively in those two tracks.
Robert “Kool” Bell of Kool and the Gang was giant who could do the sweet Bassline as well. The groove of (Hi De Hi Hi De Ho) will have any Funkster you swaying their head in the first few seconds and the Bassline to (Big Fun) will invoke all manner of Feelings in you. (Rollin) ripped off by Jamiroquai on Emergency on Planet Earth, without any credit given, is another corker. He had his own style as did many others in the era. His basslines sometimes used to kind of plod along or left you to add the missing beat. Hear (Open sesame) back in the 1970’s and (Fresh) in the 1980’s gives you one of his styles but there were many more. As you progress in your understanding of FUNK basslines you will come to recognise all the different styles and know that none of them were created 10 or 20 years later by anyone like 1990’s Rare Groove copy cats and thieves Jamiroquai who created nothing whatsoever.
Cosmic Girl
acid jazz
(1970’s Disco era FUNK/Latin)
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[Deodato/ Oby Onyioha/ Phil Fearon/Jenny Burton]
CHIC!
Jay Kay & Derrick Mc Kenzie
[The Groove]
Deodato; Super strut
Hyldon; Vem Dançar o Samba
MFSB; K-Jee
(The CHIC Organisation)
Sister Sledge; The Greatest Dancer
CHIC!
My Forbidden Lover
Everybody dance,
I want your love…
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Michael Jackson; Off the wall
Pleasure; Nothing to it [Intro Only]
An example of the 70’s Synth Jamiroquai copied.
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[The Chorus]
Oby Onyioha; Enjoy your life
[Brit Funk]-Phil Fearon and Galaxy; Head over Heels-[“aaah Ahaa”]
[Brit Funk]-Phil Fearon and Galaxy; Wait until tonight & Dancing tight
The Commodores; You’re Special [Chorus]
Split Decision: Night Dancer
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Slave; Steppin out & Just a touch of love-[Elements of the groove]
Aurra: Send Your love
Jenny Burton; Bad habit-[Shab be do waaa, Sha be do waaaa!]
Fat Larry’s Band; Sparkle-[Lyrics-“There came this girl from outer space”]
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[The “Latin” (Black South American) sound]
Gibson Brothers; Cuba
Gilbeto Gill; Palco
Fatback; Spanish Hustle
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Other 1970’s/1980’s FUNK Suggestions
The Commodores; Lady (You bring me up when I’m down).
Dynasty; Groove Control
‘Little’ Leon from the Sylvers now all grown up makes his Mark and goes on to be a major producer of the era working with many bands including Shalamar and The Whispers. Notice the similarity between the sound of Shalamar and Dynasty. SOLAR is a big name of the era. Midnight Star, Klymaxx, The Deele, Lakeside, Carrie Lucas, Babyface and many more are all giant names of 70’s/80’s FUNK.
Skyy; Here’s to you (Original album version)
[Brit-Funk]-Delegation; Darling & You and I
Lillo Thomas; Trust me & You’re a good girl
Dexter Wansel; I will never forget
Oliver Cheatem; Get down Saturday night
Stephanie Mills (feat. Teddy P); Two Hearts
Ron Louis Smith; Party dress
TS Monk; Candidate for love
[Brit Funk]-Jaki Graham; Round and Around & Breaking Away
Ray Parker Junior (Formerly of Raydio); Party Now
Xavier; Love is on the one
Roy Ayres: Can’t you see me
The Gap Band; Baby Baba Boogie
Carrie Lucas; Dance with you
Kwick; Nightlife
Randy Hall; (Formerly of Pleasure) I’ve been watching
Fatback; She’s a go getter & Be my Love
See my recommendations for (Canned Heat) and (7 days in Sunny June) for more sweet sounds of the era.
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Use The Force
acid jazz
(1970’s FUNK)
I have seen somewhere I remember, a ridiculous write up about this track being something incredible. Or that it might have been used somewhere like on a film or something. This is nothing new. its a standard 1970’s/1980’s South American so called “Latin” groove with a chorus ripped from Idris Muhammed with Roy Ayers style Horns . Stillness in time recommendations apply to this track. The intro sounds like Forrest’s, (Rock the Boat). The groove which as I said has South American Percussion is in the key of Cameo’s (Back and Forth) but nowhere near as intoxicating and hypnotic. Its sounds like that’s what they are trying to mimic. Johnnie Taylor (Shoot for the stars) is similar
With a groove that evokes string emotions from the get go. The horns sound like Roy Ayres so make it feel more 1970’s than 80’s, the groove in part sounds like Al Hudson and The Soul Partners (Spread love).(Da Lady) by Confunkshun which accentuates that groove springs to mind as well. Use the force has the groove of Patrice Rushen. That soft Latin feel you get in a track like (jubilation) which was already recommended for Music of the Mind from the E.O.P.E album. Lonnie Liston Smiths Expansions is one of the templates for this style of groove. Plenty of recommendations for you so lets go.
Use The Force
acid jazz
(1970’s FUNK)
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[Cameo/ Leroy Burgess/ Stevie Wonder/ Idris Muhammad]
(Credited to)
Jay Kay, Toby Smith, Derrick Mc Kenzie & Sola Akinbola
[The Groove]
Johnnie Taylor; Shoot for the stars
Cameo; Back and Forth (Original Album version)
Al Hudson and The Soul Partners; Spread Love
CONFUNKSHUN; Da Lady
(Leroy Burgess) Dazzle; Reaching
Note the Lyrics [“We are the Sons of the sun of the morning sky”] were ripped off on this track by Jay Kay…..No Jay Kay you globalist serpents are NOT the sons of the sons of the morning sky. The sky where you lot end up is pitch Black.
Patrice Rushen; Jubilation
Lonnie Liston Smith; Bright moments &Expansions
[Elements of the Horn section]
Stevie Wonder; You got it bad girl
The Reddings; Main nerve
James Brown/Lyn Collins; Think about it-[Elements of the groove]
[The Chorus]
Idris Muhammad; Turn this Mother out-[The chorus and the guitar at the ending]
Stevie Wonder; A seeds a star-[“Use the force”]
[Brit Funk]-Delegation; Singing
[The Percussion]
Forrest; Rock the boat
Sugar Hill Gang; Rappers Delight-[intro only]
Trouble Funk; Pump me up.
I have seen arguments about this track on Youtube. Some claim it’s Hardcore techno, others say it’s rap. Well Trouble FUNK are GOGO DC. (The sound of Washington DC) That drumbeat is a classic GOGO Beat. However it also contains rap which is done in the old style of the early 1980’s Like Fab 5 freddie, Curtis Blow, Grandmaster Flash/Melle Mel etc. Anyway when this came out in London at least We called this GOGO. And it should not be forgotten that we had a massive GOGO crowd over here in the U.K in the mid 1980’s.
I mention elsewhere that people who didn’t like the Electro sound of the 80’s and wanted something more earthy, funky and solid got into GOGO. There wasn’t that much in the way of hardcore FUNK and percussion at least not in the mainstream. GO GO was rough and ready perfect for Hardcore types to get their teeth into. I for one believe that the GOGO sound was the principle reason for the U.K Drum and Bass sound which came in the late 1980’s early 1990’s. We were obsessed with the Bass in the post Disco era which is why we had so many Bass slap classic Brit Funk bands and in the late 80’s people started getting into the drum sound. The Washington GOGO bands also rapped /spoke over their groove so Rap wasn’t only in NY.
Radiance; The ‘Mistro’
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Pop Music (Atmospherics)
Talking Heads; Once In A Lifetime
-‘-
Lonnie Liston Smith; Expansions
Lets progress……
Everyday
acid jazz
(1970’s/1980’s SOUL)
A standard ballad. Well if there was a greatest hits album of 1970’s slow tracks then it would not be complete without Teddy Pendergrass. So I suppose Teddy P deserves a place on this BEST SELLING FUNK ALBUM OF OTHER PEOPLES MUSIC- Though strangely I can’t see any credit given to him on for this track. Can You ?….
Well I don’t know about Everyday but every 1970’s Funkster will recognise the solid double tracked bass intro of Teddy P’s (Love TKO). Everyday and any day. There was not a party, nightclub in the U.K or in The States that this track wasn’t heard . (Love T.K.O) is one of the most famous tracks slow tracks in Soul music history. Jamiroquai copy that and then try to skirt around the Bassline as you will hear. Teddy P in the 70’s was just as famous to fans of the slow grooves as Barry White and Marvin Gaye. Foxy the other act ripped off on this track as far as I can hear were more well known for (Get Off) which everybody though and still thinks was sung by someone else. (Madamoiselle) became famous in the UK at least during the 1980’s “2 step” period around 1984 alongside tracks like Juicy Fruit (MTUME) or (All night long) by the Mary Jane Girls and (Don’t look any Further) By Dennis Edwards It was the stuff of London House parties. I give many 2 step recommendations on my review of The Return of The Space Cowboy. Two step is the slower groove slightly faster than a ballad. By playing 2 step a London DJ could please both the Soul and Reggae crowd. The 1990’s generation also know this track as it was still being played in House Parties in that decade. So Everyday is pretty straight forward. Its everyday Teddy P and Foxy. Straight forward SOUL claimed as so called Acid Jazz by Eddie Pillar during this time period….and he’s still doing now.
Everyday
acid jazz
(1970’s/1980’s SOUL)
[Teddy Pendergrass & Foxy]
Credited to
Jay Kay, Toby Smith & Stuart Zender
Teddy Pendergrass; Love Tko & Choice Tonight
Foxy; Madamoiselle [ Lyrics; “I wanna get to know you”]
-‘-
Leon Ware; California
Milton Wright; Keep it up
Confunkshun; Iam Leaving baby
Randy Crawford; You might need somebody
Cameo; Don’t be lonely
Kool and the Gang; Steppin out [Lyrics “We’re gonna paint the town”]
-‘-
So lets move onto the next track.
acid jazz
(1970’s SOUL)
Alright Contains New synthetic What?..Aha!, excellent now. Lets find out what these “new synthetic sounds” that they claim were “invented” in the studio by Jam-iroquai and used on this track according to what they (Jamiroquai) have written on Wikipedia shall we?.
Above is a reminder.
Jokes aside because their claim is literally hilarious, the track itself has the melancholy feel of (Autumn Changes) by Donna Summer. The singing style sounds a bit like her and of course the bassline is the same as well. The chorus sounds like Idris Mohammed’s (Can Heaven ever be like this) the one most people remember when they hear (Alright). So again other peoples music. The Keyboards sounds like the style of Slave/Aurra both bands are connected of course. Is that what they claim was invented in the 1990’s? Slave and Aurra band members are from the 1970’s. There is an underlying groove which sounds a bit like Herb Alpert’s (Magic Man). That was in the 1980’s but there are other examples from earlier on in the 70’s. There’s what sounds like a sample from (It’s all right now) by Eddie Harris. This is a classic disco era bassline of which there were many examples. Straight forward Black American SOUL. So as ever you can see they are talking rubbish. Below are the real Artists…..
Alright
acid jazz
(1970’s SOUL)
[Candido/ Idris Mohamed & Donna Summer]
Credited to
Jay Kay & Toby Smith
Candido; Thousand finger man
Donna Summer; Autumn changes
[Brit Funk]-Dave Roach; Running with the river
Aurra; Thinking of you-[Keyboards]
Slave; Coming soon-[Keyboards]
[The Classic Disco-era Bassline]
There are plenty of examples of this FUNK bassline. Here are some I remember…
Graham Central Station/Larry Graham; Save me
Paradise Express; Dance
Lipps inc; Funky Town
Carrie Lucas; Dance with you
Brother and Sister: Midnight desire
Love De-luxe; Here comes that sound again
Carol Williams; Tell the world about our love
Puff; You got me in the mood
The Manhattan Transfer; Twilight Zone
The Manhattan Transfer often played on Tony Blackburn’s Soul show was the last versions of this Groove I remember but by now we were in the 1980’s so it had a fair old run. So there is nothing new on this track at all. So as to What are these so called new synthesized sound they speak about. Well you’ll have to ask Jamiroquai. Total BS
-‘-
High Times
acid jazz
(1970’s/1980’s Synth FUNK)
From Mandrill and Pleasure to The Gap Band and The Dazz Band. A pastiche of another FUNK frequency claimed by Eddie Pillar and Gilles Peterson as so called “acid jazz”. “Invented here in London in 1988”. This is not the invention of Jamiroquai or Gilles Peterson.
The Synthline sounds like the intro of Pleasure’s (Universal Mind). They just take the shortest route. They do the same on Planet Home as you will see later on my review of Synkronised. The production values for me come over as early 1980’s a bit like (Half Steppin) by Johhny Gill. I remember buying that album on a whim in a record Shop back then and took a gamble. The album turned out to be great. I had no idea that this young guy Johhny Gill would go onto be famous. In the old days before the Internet you would choose an album and think, this looks okay, then you would ask the owner of the record shop to spin (Preview) a few tracks for you. A record shop owner was very knowledgeable back then. He had to be. People would often bring songs on their mini walk-mans and ask him to identify it. He was the one to ask or tell you about new releases or Order music on Import for the States. The Internet has of course changed everything.
The Jazz Piano sounds like The Commodores on (Free). The Synth at the intro sounds like Fantasy’s (You’re too late), or Maybe Mandrill’s (Suzie’). Also the Brothers Johnson at the intro of (Light up the Night). At the chorus it’s that bassline again. The Dazz band, T Connection, Breakwater, Gap Band, The Barkays, Johnny Guitar Watson and many others played in this groove in the 70’s/80’s. There is also a sample from Ester Williams in High Times.
(1970’s/1980’s Electrophonic Phunk)
acid jazz
-‘-
Pleasure
Credited to
Jay Kay, Toby Smith, Stuart Zender & Derrick Mc Kenzie
The Dazz Band; Keep it live & Paranoid
Pleasure; Universal-[Intro and the Horns] & Lets dance
Johnny Gill; Half Stepping
Breakwater; Splashdown time & Do it till the fluid gets hot
Johnny Guitar Watson; What the hell is this
Bill Summers & Summers Heat; Call it What you want & We call it the Box
Brothers Johnson; Lets Swing
Fatback; Backstroke, Is this The Future & Money
Juicy; Show and tell
-‘-
[The ‘Rising/Ascending’ Piano]
The Commodores; Free
[Brit-Funk]-Beggar and co; Rising Sun
I don’t know what the correct term is for this style of piano playing is. Sufficed to say the Chords go ‘upwards’. I have added some examples of FUNK tracks with the chords going downwards in the recommendations at the end of my breakdown of the track. In the meantime here’s a few Electrophonic tracks which will appeal to those who heard High Times….
Recommendations
Mandrill; Can you get it Suzie
Gap Band; You dropped a bomb on me, Early in the Morning & Party Train
Splash/Citispeak; Sound Reason
[ Brit-Funk]-Freeeze: Can’t keep my love
Aretha Franklin; Get it right
Brass Construction; Get up to get down
JR’s Machine; Make your body move
The Bar-Kays; Freakshow on the dancefloor
Wynd chymes; Your the one for me
Goody Goody Make me Hot
Sunfire; Shake your body
-‘-
[The Chorus]
Ester Williams; Last night changed it all-[Sample; “last night”]
-‘-
[Synth]
Fantasy; You’re too late
BT Express; Star child-[Elements of the synth]
[The Jazz aspect towards the end]
Herbie Hancock; Swamp Rat & Sly-[Elements of the second half]
Patrice Rushen; Haw right now
-‘-
[The Ending]
Stanley Clarke; News York City-[Relevant part towards the end of the track]
[The ‘Descending’ piano]
Leon Haywood; Tenderoni
The SOS Band; Borrowed love
Tommorows Edition; In the Groove
[Brit Funk]-Loose Ends; Mr Bachelor
The Blackbyrds; Be thankful bout yourself
*Stevie Wonder; Every time I see you I go wild (1967)
-‘-
[Other 1970’s/1980’s Electrified FUNK Suggestions]
(Quincy Jones) Donna Summer; Love Is In Control (Feat. Michael Jackson)
Bill Summer and the Summer Heat; Call it what you want & We call it the Box
The Conway Brothers; Turn it up
L.T. D; Burning Hot
Roy Ayres; Fast Money
The Gap Band; Disrespect
Mid Air; Ease out
Yarbrough & Peoples; Guilty
The Pinch; Shot out
Jeff Lorber Full; Full moon rising
Tim Mabin; Jimmy Jam
[Brit Funk]-Junior; Stone Lover
Cameo; Flirt
Fatback; Money & Backstroke
[Brit Funk]-Dave Roach; Move it & Running with the river
Steve Arrington; 15 Rounds
Carl Carlton; Bad mama jama
Ritchie Family; I’ll do my best for you baby
Fatback band; Is this the future
[Brit Funk]-Total Contrast; Takes a Little time
Ray Parker Junior: For those who like to groove & Still in the groove
Lakeside; your love is on the one
Forecast; Never too much
Switch; Somebody’s watching you
Thelma Houston; You used to hold me so tight
Kleeer; Ride it & De Kleeer Ting
Alexander O’ Neal: Fake
Rose Royce; Makes you feel like dancing & First come first serve
Slave; I like your style
Barry White; Sho you right
Michael Jackson; Leave me alone & Another part of me
Marvin Gaye; Sanctified Lady
Steely Dan; I got the news
-‘-
Relax; Frankie Goes to Hollywood
*Frankie were a pop band but relax was a Synth Funk Track. EWF loved it and Many funksters bought the track.Trevor Horn the producer wrote the Doctor Who T.V programme theme. It is a stunning Funk track. the 12 in version take you on a Journey into the FUNK.
So we come to the Title Track of TRAVELLING WITHOUT MOVING.
THE BEST SELLING FUNK ALBUM OF OTHER PEOPLES TALENT, AND WE FIND….WELL OTHER PEOPLE MUSIC.. WHAT DID YOU EXPECT GENIUS?!
Traveling Without Movin
(1970’s FUNK)
The famous car/bike screech from The Gap Band’s burning rubber. The Bassline sounds like a simplified version of Larry Graham’s (Pow) without the bass slap. It’s more similar to Johnny “Hammond” Smith’s (Breakout). That’s the old fashioned Jazz style of playing the Bass. The chorus has the groove of Aurra’s (like I like it) including the keyboard sound on one of the remix versions. Gwen Mc Crae’s tracks (All my love) and (90% of me is you) (Keyboard sound) is similar and came first. It also has the ambiance of the Leroy Burgess sound though toned down. Patrice Rushen, Leroy Hutson, Slave, Steve Arrington and even CHIC! Pulled of this sound as you will see from my many recommendations. There was a House track with a groove similar to the chorus around the 1990/1992 mark but I don’t know what it’s called. Someone in the Techno/House movement might be able to recognise it. Anyway Twom is a straight FUNK track. There is nothing here which was invented in London called “acid jazz” either and that is because there is no such thing as a music genre called acid jazz. Except in the satanic petition of Eddie Pillar, Gilles Peterson and Their globalist cabal. I have plenty of 1970’s/1980’s FUNK suggestions/ recommendations for you below.
Travelling Without Movin
acid jazz
(1970’s FUNK)
[Larry Graham/ Patrice Rushen & Leroy Burgess]
(Credited to)
Jay Kay
The Gap Band; Burning Rubber-[Car/Bike screech intro only]
Larry Graham; Pow (I gotcha!) & The Jam
Patrice Rushen;
Play
Keepin’ faith in Love
Call on me
Changes (In Your Life)
(Roy Ayres) The Eighties Ladies; I knew that love & Tell Him
Johnny “Hammond” Smith; Breakout-[Bassline]
‘Intro’ Bass slap recommendations
Aurra; A little Love & Make up your mind
The Brothers Johnson; Echoes of an era
[Brit Funk]-Level 42; Sand storm
ZINC; This is where the love
One Way; I didn’t mean to break your heart
You can hear tons more Bass slap tracks in my review of Space Cowboy.
[The Chorus]
Gwen McCrae; All my love & 90% of me is you (Originally by Vanessa Kendrick)
Leroy Burgess/Dazzle; Reaching-[Groove, percussion and lyrics]
Aurra; Like I like it (Remix version)-[Has the same keyboard sound as the Gwen Mc Crae Track]
-‘-
[Similar “Pastel” Atmospherics]
So this is another sound that I loved back in the day. It had a frequency all on it’s own. I call it pastel as It was Softer, lighter, paler. Feminine if you like. It harked back to the dreamy echoing shades of STEVIE on (Too High). The harmonies were heart warming, sometimes earnest, sometimes sexy, sometimes even melancholy, but they all had a similarity that I picked up and have remembered for you. Patrice Rushen, excelled at it. CHIC! went there as well in some of their tracks. Even better Sister acts Slave and Aurra brought their nasty bass slaps into this groove adding yet another dimension to it. 1970’s Slave’s old boy Steve Arrington now a solo global star in the 1980’s brought that distinctive groove with him on many of his tracks.I have assembled plenty of examples and other similar grooves for you below….
Recommendations.
Aurra; Send your love & Perfect date
Leroy Hutson; Classy Lady
-‘-
Pleasure; Only you (((“Only you can stop the hate from spreading in your mind”)))
-‘-
[Leroy Burgess]
Logg; You got that something
Dazzle; Slipped Disco & Walk before you run
Convertion; Sweet Thing
-‘-
Recommendations-Feel these harmonies. They will give you that feeling!
Love De luxe; I’ve got that feeling
Cela; I’m in love
Kool and The Gang; Big Fun
Lonnie Liston Smith; We can dream
Dino Terrell; You can do it it so Easy
Splendor; Special Lady
Inner Life; Moment of my life
Harvey Mason; Till you take my Love
Class Action; Weekend
Pleasure; Take it to the streets
[Brit Funk]-Second Image; Searching but not finding
A Taste Of Honey; Do it good
Johnny Guitar Watson; In the world
Diana Ross; Have Fun & Friend to Friend
Kool and the Gang; September Love
Gap Band; I know we’ll make it
Dynasty; Does that ring a bell
Faze O; Funky Reputation
L.T.D; Don’t cha’ know
Carol Williams; Cant get away from your love
Bernard Wright; Spinning
[Brit Funk]-Five Star; Can’t wait
-‘-
CHIC! tracks to check out….
Chip off the old block
I’ve got protection
Telling Lies,
Could you be my Baby
Nile Rogers (CHIC); State your mind-Not the old CHIC we remembered, By now the disco era was just a memory. Nile went on to work with Madonna and did a Pop/Funk track called (Reflex) with Duran Duran. Duran Duran appeared on Soultrain in the 1980’s.
-‘-
Earth Wind and Fire; The changing times
Diana Ross; Tenderness
Stevie Wonder; That Girl
Fantasy; If it don’t fit don’t fit don’t force it
Johnny Hammond Smith; Virgo Lady
The S.O.S Band; Nothing but the best
-‘-
[SLAVE]
Slave; Shine & Stay in my life (1988)
Slave; Visions of Light & The Spice of Life [Albums]
*You can find a similar FUNK Atmospherics in my recommendations for Runaway.
-‘-
Cliff Richard; Never say die
“Don’t feel so bad you can always try again again, don’t surrender don’t give up the fight!”
Okay so onto the next track….
(Reggae Music)
Unknown
(Credited to)
Jay Kay, Simon Katz & Derrick McKenzie
Well, don’t know. I’m a SOULHEAD not a Roots Rocker. This sounds like commercialised 1980’s UK reggae, like Sting & The Police or UB40. Maybe this is what they claim Gilles Peterson invented!
-‘-
Didjerama/Digital Vibrations
acid jazz
(1970’s Soul/1970’s Experimental Jazz FUNK)
Early 1970’s. The Barry White Show. The Jazz Funkateers and their numerous “different” instruments. It sounds like another pastiche of the era. It’s got that ‘whirring’ sound from Jimmy Smiths (Give up the Booty) running through the track. It’s in the Groove of Herbie Hancock and Donald Byrd as well. To me however this sound will always be Barry White. The major architect of what has become known as the Disco sound. They have tried to mimic Barry’s Hypnotizing groove by blowing the Diggi endlessly through the tracks
[Barry White & Herbie Hancock]
Credited to
Jay Kay & Derrick Mc Kenzie
Midnight Groove & Love Serenade (Feel the 2nd half of these tracks)
There was something about the trumpets in the second half of love serenade i loved. Brass Construction’s (We need Love) had it as well. Something heavenly about it. For more heavenly stuff go to the Planet Home Recommendations.
Herbie Hancock; Watermelon man & Stars in your eyes
Jimmy Smith; Give up the booty [“Didgi” sound]
Donald Byrd; Makin’ it-[Intro only]
Curtis Mayfield; Keep on keeping on
Rolf Harris; Sun Arise (Included for historical purposes only he’s a criminal)
[Brit Funk]-Billy Ocean; Are you ready
Roy Ayres; Programmed for love (Extended Version)
Inner life; Make it last forever……..
-‘-
So onto the next track…
You are my Love
acid jazz
(1970’s FUNK)
Another Pastich of other peoples music on “The Best selling Album of other peoples Music in History“…..Quincy. The intro sounds like Pleasure Including the horns. The bridge sounds like Lonnie Liston Smith’s (Always there). There are many versions of that track but Jeff Lorber’s version is probably the nearest match. Quincy’s (I never had it so good) plays a part in this track as far as I can hear. The bassline in the bridge sounds like Narda’s (Narada Michael Walden) (Divine Emotions) bassline (The remix version) the one which follows the groove of his disco era hit (Tonite I’m alright). Or perhaps a toned down version of Pleasure’s (No matter what) without the bass slap. The chorus sounds like (Praise) by Marvin Gaye. Still in the chorus I can hear Lonnie Liston Smith’s (Shadow) or maybe the a bit of the “shuffle groove” from Leon Haywood’s (Don’t force it don’t push it). Straight Funk. No acid anything.
You are my Loveacid jazz
(1970’s FUNK)
[Quincy Jones/ Marvin Gaye/ Pleasure /Lonnie Liston Smith]
(Credited to)
Jay Kay
Quincy Jones; I never had it so good
Marvin Gaye; Praise
Jeff Lorber; Always There-[Originally by Ronnie Laws]
Narada Michael Walden; Divine Emotion-[Bassline (remix version)]
Pleasure; Plastic People, No matter what & What is Slick-[Elements of the groove]
leon Haywood; Don’t force it don’t push it-[Underlying elements in the chorus]
CHIC; My feet keep Dancin’
Lonnie Liston Smith; Shadow-[Underlying elements in the chorus]
Lafayette Afro Rock Band; What You Need
-‘-
Funkadelic; I’ll Stay
(1970’s/1980’s SOUL)
Not much to look at here. This sounds like Funkadelic’s (I’ll Stay). A standard Soul ballad.
Funkadelic
Credited to
Jay Kay, Toby Smith & Stuart Zender
Funkadelic; I’ll Stay
Stevie Wonder; Joy inside my tears
Quincy Jones; Secret garden
We progress onto another replay of a familiar groove…..
(1970’s FUNK)
Funktion at the Junction
This is an old sound from our era. It Follows a familiar template initiated by Soul Giants The Ojay’s on (For the love of Money). Its easy to forget just how big the Ojays were in the early 1970’s. This sounds more like it’s based on Vernon Burch’s (Stepping out). A homage to the Ojay’s. There is an element of Idris Muhammad’s (Fox Hunting) in the percussion. The third time they have picked his pocket on this best selling album of other peoples music. The intro from Gwen McCrae; (It’s got to be real) is here and The horns sound like Atmosfear’s (Dancing in outer space). In the 1970’s The Commodores and Cameo were the masters of this groove and took it to another level. Were goin to a FUNKTION was an old saying and Funktion at the junction was a BT Express album. So here are the grooves and recommendations below.
Funktionacid jazz
(1970’s FUNK)
-‘-
[Vernon Burch/ Idris Muhammed/ Cameo]
Credited to
Jay Kay, Toby Smith & Stuart Zender
Vernon Burch; Stepping out & changes
Cameo; Keep it hot, Postmortem, C-On the funk.. etc
Idris Muhammed; Fox Hunting
The Ojay’s; For the love of Money
Forrrce; Keep on dancing (Don’t fake the Funk!)
-‘-
[Brit Funk]-Atmosfear; Dancing in outer space-[The horns]
Gwen McCrae; It’s got to be real-[Intro is looped throughout the track]
Michael Jackson; Working day and night (Intro only-Percussion)
The Gap Band; Disrespect-[Percussion]
-‘-
[The laugh at the intro]
Tom Browne; Thighs high (Grip your hips and move)-[intro only]
SIMILAR GROOVES OF THE ERA (1970’s/1980’s)
The Blackbyrds; Gut level
LTD; We party hearty
Skyy; Lets turn it out
Instant Funk; Got my mind made up
Vaughan Mason; You can do It
Lakeside; Strung out
Captain Sky; Non stop to the sky
-‘-
[Cameo; Rigor Mortis Album]
[BT Express; Funktion at the Junction Album]
[Kool and the Gang; Jungle Boogie Album]
You’re beginning to realize that you have been sold a Lie aren’t you. They say that it’s easier to fool people than to convince then that they have been fooled. Well if you have grown up thinking that Black American Soul is called Acid Jazz or that there is a Black Music genre called acid jazz then you have been fooled by the Synagogue of Satan. There is no such thing as as Genre, Subgenre or style of Black Music called Acid Jazz.Ask Gilles Peterson and Eddie Pillar to tell you what it is if they claim it does. As you can see from this lists you cannot Fool people On Black Music or indeed any style of Music. Smoke and Mirrors don’t Work in Music!
Slipping and Sliding
acid jazz
(1970’s FUNK)
Johnny Guitar Watson, The Gap band, Earth Wind and Fire and more. The intro is immediately familiar to any 70’s Funkster. Bob James (Westchester lady) reworked. 1990’s kids know it well as it was sampled a few times. From then on it sounds like Stevie Wonders smash hit (I wish) back in the 70’s. The Bassline also follows the groove Earth Wind and Fire’s (Speed of love). The sound atmospherics are really those of Johnny Guitar Watson who got there first in the 70’s before Gap Bands (Shake & Party Lights).
The horns sound like Roy Ayres. On (Got to find a Lover) There is an element of Fantasy’s (You’re too late) towards the end perhaps but there is a closer track out there with the same horns from the late 70’s. Maybe Parliament, I can’t remember. Anyhow this is a familiar groove and one of the many 1970’s FUNK Atmosphere’s Cultural thieves Eddie Pillar and Gilles Peterson claim is called ‘acid jazz’ and comes from London in the 1990’s. No it does not.
Slipping and Sliding
acid jazz
(1970’s FUNK)
-‘-
[Bob James/ Stevie Wonder/ Earth Wind and Fire/ Roy Ayres ]
Credited to
Jay Kay & Wallace Buchanan
[The Intro]
Bob James; Westchester lady
Hubert Laws; Undecided
-‘-
[The Groove]
Stevie Wonder; I Wish
Geraldine Hunt; It doesn’t only happen at night
Earth Wind and Fire; Speed of love & Something special
The Gap Band; Shake & Party Lights
Johnny Guitar Watson; Shake your Booty
Khemistry; I got a feeling
Roy Ayres; Got to find a Lover [The horns]
Fantasy; You’re too late-[Chorus]
-‘-
[Recommendations with similar Atmospherics]
Chocolate Milk; Girl calling
Cameo; Enjoy your life (“ Directed to those who are not..”)
T-Connection; Everything is cool
[Brit Funk]-Delegation; Sho’ nuff sold on you
T.S Monk; Bon Bon Vie (Gimme the good life)
MAZE; Laid back girl
Ozone; Walk on,
DD Sound; Wake up in the night
Chocolate Milk; Friction,
Quincy; The Dude
Fatback; Backstroke
Spence; Satisfied
Kool and the Gang; Mighty Mighty High
-‘-
The ‘Shuffle’ Groove
That light jabbing of the Keyboards was called the shuffle groove. You can hear it in the background of a few records in the disco era. (Don’t force it don’t push it) Leon Hayward, (Ladies Night) Kool and the Gang etc. It supposedly mimics the sound of a train on the railways tracks and comes either from Jazz or the Blues though I cannot 100% confirm that fact. Its nothing to do with what drummers call the shuffle though. The Butterfly sound was another name. Think of a fluorescent butterfly flapping it’s wings through the nightclub in synchronization with the groove….. Yeah. Anyway, it produced many gigantic hits based of of Barry White’s (Its Ecstasy). I must add though that BT Express released a similar groove the same year (1977) called (We got it together) which had a repeating guitar riff in it. So that bassline works best with repeating riffs.
Leon Haywood; Don’t force it don’t push it-[Underlying elements in the chorus]
Kool and the Gang; Ladies Night
Scandal; I wanna do it Funk.
One Way; You can do it
Barry White; It’s ecstasy when you lay down next to me (1977)
BT Express; We got it together (1977)
[Johnny Guitar Watson; A Real Mother For Ya Album]
*Slip and Slide is a track by Roy Ayers
Bullet
acid jazz
(1970’s FUNK)
Just another pastiche of 1970’s FUNK re-classified as so called “acid jazz” by Eddie Pillar.. The intro bassline sounds like Ingram’s (DJ’s Delight), or Herbie’s (If you’ve got it you’ll get it) as per (Just another story). In this case there is another track which has exactly the same bassline which I can’t remember. The intro horns sound like James Brown/Marva Witney (It’s my thing). We then go into what sounds like Roy Ayres (Horns) and the groove sounds like Johnny Hammond Smith’s (Can’t we smile). The horns then sound like The Brothers Johnson on their post disco hit (Tokyo), then Marvin Gaye’s (Inner city blues) takes over. So yup, it’s just another pastiche of grooves familiar to 70’s Funksters replayed in the 1990’s. Listen for yourself.
Bullet
acid jazz
(1970’s FUNK)
[Roy Ayres/ Johnny Hammond/ Marvin Gaye/ The Brothers Johnson]
Credited to
Jay Kay & Wallace Buchanan
[Intro]
Ingram; Dj’s Delight
Amra: Special kind of Love
Herbie and the Headhunters; If you’ve got it you’ll get it
James Brown/Marva Witney; It’s my thing-[The horns in the intro]
Roy Ayres; You and me my love-[Intro only]
-‘-
[Chorus]
Johnny “Hammond” Smith; Can’t we smile
The Brothers Johnson; Tokyo-[The Horns]
Joanna Gardner; Pick Up the Pieces
Marvin Gaye; Inner city blues [The bridge]
[Brit Funk] Freeeze; Mariposa
Cameo (feat. Miles Davis); In the Night & I’ve got your image [The Horns]
Brick; Wide open
Roy Ayres; Coffee is the color
-‘-
Titan/ Everybody’s going to the moon
(Mid to late 1970’s early 80’s Synth Funk)
(credited to ?)
The groove sounds like The Brothers Johnson; (Light up the night) intro looped. The keyboard’s sound like synth pop keyboards from around 1980/81. The rest is unknown to me. It sounds like 1970’s Electro. Cerrone, Moroder, Wansel, Mandre that sort of stuff. Vocals sound like Blondie on Blondies Rap. If it’s based on a particular track then I don’t know it. It sounds unfinished. what we call Just an album filler.
The Brothers Johnson; Light up the night-[Intro looped]
Stevie Wonder; A seed a star
Cerrone; Supernature
Kano; I’m ready
Do you know where you’re coming from
acid jazz
(UK D&B) Drum and Bass
(Credited to)
M-Beat, Jay Kay & Toby Smith
Unknown. The originators of the late 80’s early 90’s Jungle/D&B sound are my 1970’s contemporaries. Many were former Soulboys or Lovers Rock/Ragga boys (Reggae) but I never joined the movement. We were in or approaching our 30’s by then. Jungle/D&B had a lot of Reggae/ Soul samples but unlike the 70’s Jazz funk retreads of the 1990’s (that people are trying to claim is called acid jazz) a lot Jungle/D&B was self written and unique. Just like the 50’s, 60’s, 70’s and the first half of the 80’s. A testament to the Soul heads and the Roots Rockers who created the first unique and distinct sound that we could call our own in the UK even though as I said it was based on we what had come before.
As said before our obsession in the mid 1980’s with the Washington drum sound of GO GO had a lot to do with it. 1970’s Kool and the Gang fans would have remembered a track called (Sunshine) back in the 70’s when they heard the ‘new’ sound of Jungle. And the sci-fi tv programme we used to watch as young kids called UFO. So the sound goes way back. In the UK we who were there can just about take credit for late 80’s and 90’s Jungle/D&B and Dubstep. None of us take credit for 1970’s Jazz Funk and Soul. Regardless of what present or future American history revisionist tries to convince you. Neither they nor acid jazz records speak for England. We the Soulheads and the Roots/Reggae rockers of the 60’s, 70’s and 80’s do. We are still about. So ask.
1970’s “Jungle”
Kool and the Gang; Sunshine
Gerry Anderson’s UFO. (TV show theme)
-‘-
Hollywood Swinging;
acid jazz
(1970’s FUNK)
Just a remake of an old K&G track, and his correct title is Robert “Kool” Bell.
Kool and the Gang; Hollywood Swinging;
-‘-
Okay, now for some more blatant music theft fro a band that claim they don’t use outside influences.
Our Time is coming
No it isn’t globalist serpent. The age of Aquarius is coming.
acid jazz
(1970’s FUNK)
[Earth Wind and Fire & Roy Ayres]
(Credited to?)
Another pastiche/merge of old tracks. This time it’s Roy Ayres/Earth Wind and Fire.
Earth Wind and Fire; Africano
Earth Wind and Fire; Magic Mind
Roy Ayres; Get on up get on down
Radio
acid jazz
(Rock)
(Credited to ?)
Unknown. It Sounds like something from the first or second Prince albums. Eg the original version of (I feel for you) covered later in the 80’s by Chaka Khan and Grand Master Flash. It Could be Ray Parker Junior. It’s similar to his guitar sound. Example (The Other Woman). Donna Summer had a song called (Radio). If it’s based on a particular Rock track then I don’t know it. If you can ignore the over busy 80’s synth pop production there’s a SOUL track underneath there somewhere but this as I said sounds like early Minneapolis (Prince)
Letticia Dean & Paul Medford; Something Outa’ nothing
AND THERE YOU GO. THE BESTYSELLING ALBUM OF OTHER PEOPLES MUSIC IN HISTORY
SO DID YOU HEAR ANYTHING NEW? INVENTED BY JAMOIROQUAI? NO.
DID YOU SEE ANYTHING CALLED ACID JAZZ? A SO CALLED GENRE THEY CLAIM WAS INVENTED BY GILLES PETERSON HERE IN LONDON IN 1988?
No you did not and that is because there never was a Black Music genre called Acid Jazz. It does not exist. What you heard in the 1990’s and the early 2000’s was Rare Groove and 70’s/80’s Funk. FUNK I know.
SO IF THIS IS THE FASTEST SELLING ALBUM IN HISTORY THEN AS I SAID IT’S THE FASTEST SELLING ALBUM OF OTHER PEOPLES MUSIC. MUSIC AND SOUNDS THAT I RECOGNISE. NOW SO DO YOU. SO LETS GO ONTO SYNKRONISED….
Into the Post Disco era (1980-1983) of which the next album is mostly a replay. Excepting Black Capricorn Day and King for a Day which has the earlier 1970’s sound. Lets go take a look at Synkronised. Of course I know all the sounds on that Album. I’m an Authentic SOULHEAD. In the recommendations I will give you FUNK to Blow your Mind. Trust me.
soulboytales.com 