THE GREAT THEFT OF FUNK

EDDIE PILLAR AND GILLES PETERSON. STOP TRYING TO REWRITE MUSIC.

HISTORY GET OUT OF BLACK MUSIC. GET OUT OF BLACK CULTURE

If you’re an African American some of what you say may not be printable. You’ll probably be nodding your head saying something like “Ah yeah, here we go again”….WELL NO. You can defeat the serpent with the information on this website.

So first of my customary challenge to any so called music writer.

SERPENT SMOKE AND MIRRORS DOES NOT WORK IN MUSIC. YOU CANNOT FOOL AN AUTHENTIC DISCO ERA 1970’S/1980’S FUNKSTER ON THE MUSIC HE GREW UP WITH. THERE NO STYLE OF BLACK MUSIC CALLED ACID JAZZ OR CLUB JAZZ.

They do not exist. And if you are one of these 1990’s/Millennial so called “music writers”, who claims or has ever claimed that these genres exist, then write in the comment section what these genres are. Then tell me the name of a so called “Acid Jazz” track or a “Club Jazz” Track. Don’t tell me that Jamiroquai play this non existent genre either because they don’t. I know what all those sounds are. I have already debunked that satanic myth in THE SOULHEAD TALES.

so go ahead tell me the name of an acid jazz/club Jazz track from this imaginary genre. Exactely what style of Black American Soul did a satanic record Label created here in London in 1987 invent? Better still ask Gilles Peterson………..

This is for Africam American youngsters acquaint yourselves with some of the sounds of your 1960’s, 1970’s, 1980’s and 1990’s Elders which are being re-classified by Eddie Pillar and culturally appropriated as so called “Acid Jazz” from 1980’s London. We AUTHENTIC London Soulhead’s recognise no such genre.

If you’re an African American some of what you say may not be printable. You’ll probably be nodding your head saying something like “Ah yeah, here we go again”.

THERE NO STYLE OF BLACK MUSIC CALLED ACID JAZZ OR CLUB JAZZ. They do not exist AND NO ONE IS

So firstly know that Eddie Pillar Gilles Peterson and Acid Jazz records do NOT speak for Black Britain and neither do they have any claim on any style of Black Music here in the U.K. Or indeed anywhere else. At no time and at no stage was there ever a Black Music genre called Acid Jazz here in London England or anywhere else. Either during the 1980’s or the 1990’s. ASnd yo will find no reference to that lie in any Black Music publication, on any Sooul show be it T.V or Radio No one had even heard of them until the mid 1990’s and that was mostly the kides of the era. No matter what their mates in the synagouge of satan infiltratred wikipedia serpent media, press and other outsiders who know nothing about Black Britain tell you. Know that they cannot give you the name of any so-called acid jazz track that isn’t actually SOUL /R&B.

EDDIE PILLAR is essentially re-categorizing all styles of 20^th Century SOUL as so called Acid Jazz. On Wikipedia they are claiming that this so called Acid jazz genre came out of London in the mid 1980’s. No such genre exists. Now if you are in politics, history or medicine for example then you will be aware that the Globalists have taken over Wikipedia and are censoring /removing any information that does not suit the serpent agenda. Acid Jazz records is a serpent organization and as such their lies are being preserved by satanic Gatekeepers on Wikipedia.

WHO IS TELLING YOU THESE SOUNDS ARE CALLED ACID JAZZ FROM LONDON OTHER THAN EDDIE PILLAR AND HIS INTERNATIONAL CABAL OR THEIR WIKIPEDIA GATEKEEPER. A CALIFORNIAN WHO DOESN’T KNOW WHERE ESSEX IS AND CAN’T NAME A SINGLE TRACK WHICH BELONGS TO THIS SO CALLED GENRE?

Above an American called Michael Bink Knowles Gatekeeper for a page of total disinformation which writes Black Britain out of History

BELOW YOU SEE SOME OF THE ANONYMOUS AMERICANS RE-WRITING BLACK BRITISH MUSIC HISTORY ON WIKIPEDIA

LIES-Theft of Black Culture

Black London of the 1980’s being wiped from the history books and replaced by ….Gilles Peterson who apparently invented a Black Music genre called acid jazz which spread to America thanks to Jamiroquai.

There is no such thing as Club Jazz and there is no such thing as acid Jazz.

Exactly who is it on Wikipedia and the internet at large telling you acid jazz is a music genre from London England? Is it us 1970’s/1980’s Funksters from London England? Is it any of our 80’s Funk bands, acts or DJ’s of the 80’s? Is it Black Brits? NO Its OUTSIDERS, South Africans, Swedes, Dutch, Americans, Germans, Eastern Europeans Russians, etc on Wikipedia and on the Internet telling you that 20th SOUL is a music genre called acid jazz. Even though they can’t tell you what it actually is because it doesn’t exist. These people have NOTHING to do with Black Britain or the Soul in the UK. Except that they infiltrated or culture and are now trying to wipe us out of history. Some of these people had never even heard of Soul to Soul or Loose Ends. They are just assuming that they can use all the disinformation tactics of their crowd in the New World Order to pull of the fraud of the Century. Both the 20th and the 21st.

What is acid jazz?

Nothing more than an infiltrator record label making money out of Black music and trying to steal the Energies associated with FUNK . The proverbial satanic wolf in sheep’s clothing. Stealing energy is what these inverted sabbateans frankists do.

What is the acid jazz genre?

It doesn’t exist. It never has. It was not a Genre, a subgenre, a groove, a sound or a style of FUNK. It’s the only music genre in history for which no one can name a single song. It’s nothing more than Cultural Appropriation. The acid jazz “genre” is an International conspiracy by a small group of people from several Countries including the UK the US, Russia, Israel, South African and others backed by insiders in Youtube, Wikipedia, to appropriate 20th Century Black American Soul

100% ACID JAZZ, THIS IS ACID JAZZ, ABSOLUTE ACID JAZZ, THE STORY OF ACID JAZZ. SEE THE WAY THE WORD THINGS!

AUTOSUGGESTION-KEEP REPEATING THE SAME THING UNTIL YOU BELIEVE IT

This is acid jazz…. The story of acid jazz…. Absolute acid jazz… 100% acid jazz… acid jazz classics….acid jazz round the corner…acid jazz in your food…acid jazz invented Stevie Wonder…..acid jazz invented James Brown….acid jazz invented Stevie Wonder…acid jazz invented The Mizzel Brothers….acid Jazz invented British Soul ….Bossa Nova is now known as acid jazz…acid jazz invented Jazz Funk….The African Americans don’t exist…acid jazz invented their sound…. even though we can’t tell you what an acid jazz track is or give you a single example…

What the heck is ABSOLUTE acid jazz when it’s SOUL/R&B

You can almost see their brainstorming sessions round the table and on their whiteboard dreaming up wording to drum into peoples heads the idea that they invented SOUL. All in an effort to disenfranchise the African Americans of their culture. And later on you will see the deep thought that has gone into the tightly packed tissue of lies on their FAKE NEWS WIKIPEDIA PAGE. I seem to recall the great Napoleon Hill also saying something like “make sure the goal of your mastermind group is based on justice or it will crumble.” Robbing a culture of their heritage to make money and then mocking them for doing so is not justice.

Reminder;  So fellow Jazz Funkateers of the 60’s/70’s and 80’s or musically educated Funksters. What do you see above? do you see a Jewish music genre called acid jazz invented here in London by a DJ called Gilles Peterson? or do you see compilations featuring the following styles of Black music….

Classic 1950’s and 1960’s Black American Soul/R&B,  1950’s and 1960’s Blue Note Jazz Funk,  Doo-wop, 1970’s Jazz-funk, 1960’s/1970’s Jazz Soul, 1980’s Jazz hip-hop & Trip hop, 1980’s Jack and “New” Jack Swing, 1980’s House, Techno, Washington Go Go, Orange County, Minneapolis sound (Prince, the Time, Jesse Johnson, Morris Day, Jimmy Jam and Terry Lewis) 1970’s /1980’s LA (Salsoul), 1970’s Disco era Funk, The Sound of NY Queens, P-Funk, C-Funk, D-Funk, 1970’s Cosmic Funk, 1970’s/1980’s, Punk Funk (Rick James/Stone City band, Mary Jane Girls), Washington Go Go DC, 1960’s/ 1970’s and 1980/s Brit Funk, 1970’s Sophista-Funk, 1970’s /1980’s Electrified Funk, 1970’s and 1980’s Electro, 1990’s Neo Soul, Freestyle and all the other sub genres of Black American Soul including South American Bossa Nova, Salsa, Samba and Calypso aka Latin?

I won’t go into too much detail on all these Funksters and sound makers people as you can do your own research. This is just to highlight some of the many sounds of our era that acid jazz records are trying to culturally appropriate. The soulhead tales classified all Jamiroquai tracks into their correct genres and styles of groove so the acid jazz cultural theft cabal an no longer claim they “invented ” any of these sounds. And of course Jamroquai can no longer claim to have written all the stuff the ripped off either

AUTOSUGGESTION

(keep repeating the same thing over and over again)

  NAPOLEON HILL

Styles of Black Music featuring on so called Absolute acid jazz, This is Acid jazz, 100% acid jazz and all the other silly labels they have thought up to try and indoctrinate people into believing they are relevant or are responsible for  late 20th Century SOUL are the invention of Gilles Peterson and not the people i have listed below.

Black American Soul,- Black American Jazz Funk Fusion,-  NY Queens, Black American 1970’s cosmic synth,-  The World sound (Black Latin/African/Soul fusion),  Sophista-funk,  Gambel and Huff,  The Randy Muller sound, the CHIC! organization, Black American New Jack swing, Black American Neo Soul. iN PROGRESS THE NUMBERS MAY CHANGE….

1. BLACK AMERICAN SOUL  (They claim is called acid jazz)
2. The 1960’s MOTOWN Sound-Berry Gordy
3.  Stevie Wonder 
4. Curtis Mayfield
5. Marvin Gaye
6. 1970’s BLACK AMERICAN JAZZ FUNK FUSION  (They claim is called acid jazz)
7. The Mizzel Brothers sound-(The greatest producers of early 70’s the Jazz Funk)
8. The Dizzy & Bird Sound- aka the moody groove updated by Roy Ayers in the 70’s
9. Professor Herbie Hancock
10.  Miles Davis
11. Professor Donald Byrd
12. Patrice Rushen
13. The Laws Family, Hubert, Eloise, Ronnie & Debra.
14. NY QUEENS, Tom Browne, Bernard Wright, Don Blackman, Sekou bunch, Marcus Miller and Mile Davis
15. THE WORLD SOUND OF THE EARLY 70’s  (Soul/Latin/African fusion groove)
16. Osibisa
17. Mandrill
18. Cymande
19. THE 1970’s SPACE AGE COSMIC SYNTH
20. Worrel, Herbie, Lonnie Liston, Roy Ayers, Greg Phillinganes
21. THE SOUND OF GAMBEL AND HUFF(Architects of the Disco era sound)
22. THE RANDY MULLER SOUND Brass Construction, BT Express, Raphael Cameron & Skyy.
23. The sophistafunk sound (Quincy Jones/The Brothers Johnson, Pleasure, etc.
24. The CHIC organuisation. Nile Rogers/Bernard Edwards (Sister Sledge/ Diana Ross)
25. NEW JACK SWING
26. NEO SOUL

BLACK AMERICAN SOUL

They claim Jamiroquai play acid jazz. Much of Jamiroquai’s sound was straight plagiarised from Stevie. Kay probably stole/ripped more from Stevie than anyone else. Jamiroquai were marketed in the 1990’s and are still being marketed as an acid jazz band so that means that Stevie Wonders sound is also the invention of acid jazz records. And since Kay claims he didn’t use any outside influences…Well Stevie’s sound belongs to him as well as Giles Peterson.

STEVIE WONDER, THE GOLDEN THREAD THAT RUNS THROUGH THE FUNK

Everyone knows who Stevie is but not all understand just how important he is to the FUNK It’s not just the music has written for himself but the music he has written and co produced for others. I’m not going to even try and sum up the achievements of Stevie in a few words as it would be an insult. You can see all the FUNK and SOUL Jay Kay stole from Stevie and still claims that he wrote. Because he thinks no one will know where he stole the music from.

The sound of STEVIE WONDER

No ones had his pocket picked by Jay Kay and Jamiroquai more than Stevie Wonder as you will see from the SOULHEAD TALES.

London pub DJ Gilles Peterson invented Stevie Wonder?!

THE MOTOWN SOUND

The MOTOWN sound was the Black American sound we grew up with in the 1960’s and the early 70’s. Our era (1970’s/1980’s) is based on the MOTOWN SOUND. Despite what those who weren’t there will tell you, we do not speak of 80’s FUNK from Motown records as the Motown sound. The “Motown sound” was in the 1960’s when us disco era kids were still at school.

 All the songs coming out of that stable of geniuses and music writers had a particular sound because it was mostly all made in the same studio. You could hear the building and the echo in the background as many artists testified to. That was the MOTOWN SOUND, it wasn’t just that a particular singer or band had signed to the label. So when you hear or see people refering to 1980’s Electrified bands like The Dazz Band as the Motown sound then they don’t know what they are talking about. The MOTOWN sound developed in the 60’s into the Disco sound of the 70’s.

DISCO ERA FUNK IS BASED ON MOTOWN

I’ve seen a number of ridiculous claims, again made by outsiders, regarding the origins of disco. No matter what any outsider tells you Disco Rea FUNK is based on Motown. It is not an invention of the Gay community or anyone else. The Girl bands of our era are based on people like Diana Ross and the Supremes. The boy bands on the people like the Temptations and the Four tops. The Soul singers of our era (70’s/80’s) all site the young Girls of the 60’s and 50’s as their inspiration. Disco era FUNK is based on MOTOWN, Gambel and Huff, the Orchestral Strings of Barry White, Dexter Wansell, Philly and of course the Jazz Funk fusion of people like the Mizzel Brothers. What people refer to as “Disco” is the commercialised sound, pop music imitating the Black Americans. NO matter what anyone tells you.

Marvin Gaye

Marvin was one of the young kids taken on by Berry Gordy of MOTOWN. Like STEVIE I’m not going to go into Marvin’s long and distinguished career because it would take a whole page. You yourself will come to discover his genius and incredible albums. Sufficed to say he entertained us a small kids in the 60’s and we lost him in one of the great tragedies of the 1980’s

He was with us along time and for that at least we can be thankful.  listen to his early MOTOWN stuff then compare it to sanctified lady in the 1980’s. Jamiroquai rip off Marvin Gaye on tracks like Black Crow, Virtual Insanity and then take credit for his genius. Then cultural thief Eddie Pillar tells us this sound is called acid jazz.

CURTIS MAYFIELD

Legend Curtis Mayfield was one of the conscious American Brothers of the Era. Years before Grand Master Flash and the furious Five brought out the message Curtis was protesting on his records and writing film scores like the famous Superfly Album.

As you will see from the SOULHEAD TALES, Jamiroquai ripped off the sound of Curtis Mayfield on too young to die and When you gonna learn. Main Vein steals from Randy Muller/BT Express (Whatcha think about that) but part of the groove is Curtis on (Beautiful Brother of Mine). Take a listen yourself then see if you can find where they give him credit on any of their albums. The same goes for all the others you see in the SOULHEAD TALES.

Of course there were hundreds of SOUL singers both Male and Female during the 60’s/70’s/80’s and 90’s. You can trace the origins of 90’s Bands like Boys to Men all the way back to people like Nat King Cole or Little Anthony and the Imperials. Modern Day Female singers all base their sounds on Goddess of SOUL like Ella Fitzgerald and Aretha Franklin. SOUL music comes from Black America. It does not come from a record label based here in London England called acid jazz. They are not responsible for any genre, sub-genre or style of Black music .

You will find the sounds of all these 70’s and 80’s African American Soul singers from Barry White, Geoffrey Osbourne (LTD) from Ronald Isley to Lionel Richie  on so called “100% “and “absolute” acid jazz compilations. Ask them to tell you which aspect of Black American SOUL are they responsible for.

BLACK AMERICAN JAZZ FUNK FUSION

BLACK AMERICAN JAZZ FUNK FUSION

(Invented by Giles Peterson in 1988 according to the acid jazz cabal)

Forget the gods and creators of Jazz Funk. Herbie, Miles Davis, Donald Byrd, Patrice, Larry and Fonce Mizzel, George Duke. You know the crowd, all the people who merged James Brown with Jazz in the early 70’s. The people who’s sound we called Rare Groove when it came back in the 80’s? Remember The Pasedenas, Soul To Soul, Omar and others bringing back the Rare Groove sound? Well they don’t exist anymore. Not according to acid jazz records. They own it. That sound is now being reclassified acid jazz and it apparently came from London in the 1990’s. And it was invented by acid jazz records. Well it says this is acid jazz on compilations featuring those sounds so it must be true. The grooves of all these Jazz Funkateers are gradually being swallowed up by the acid jazz lie machine who believe they can use smoke and mirrors to culturally appropriate these sounds. Bands like Jamiroquai copied, ripped and plagiarized these sounds in the 1990’s. Now they are claiming that they invented it!

THE ORIGINAL JAZZFUNKATEERS

A few of the more well known US Jazzfunkers of the 70’s who’s sounds are being appropriated and re-classified as an English genre invented by Giles Peterson in 1988 called acid jazz. A genre that only acid jazz records seem to know what it is. The sounds of all these 1970’s/80 Jazz Funk gods appear on the 1990’s Jamiroquai albums that they claim is “acid jazz”.

The Dizzy ‘N Bird sound (aka the moody groove/sound)

Chaka Khan; A night in Tunisia-Remake.

 “A long time ago in the 40’s, Dizzy and Bird gave us this sound they called it a Night in Tunisia and the melody still lingers on….”

ROY AYRES

The principle Jazz Funk sound that cultural thieves claim is called acid jazz has to be the sound of Roy Ayers. If you don’t know what the moody sound is go and listen to the following tracks. Don’t Stop the Feeling, Chicago and everybody. That is the moody sound. You will see many examples of the moody sound in my recommendations on the SOULHEAD TALES There were several songs during the disco era that stopped the dance floor or sent it into a frenzy. Aquaboogie was one, One Nation under a groove The Anthem of Funk was another and so was Burning Hot by Jermaine Jackson. Don’t stop the Feeling by Roy Ayres was one such track. It literally sent the dance floor into a trance. It’s dark moody sound was totally the opposite to the bright high energy sound of say Earth Wind and Fire. This was the track that really got Roy Ayers noticed by the youngsters although of course Roy had been around for a long time. 

So the Dark sensuous moody original Jazz sound of Gillespie paid tribute to by Stevie and the Beatles in the 60’s, updated brilliantly in the 70’s by the likes of Roy Ayres, Side Effect, Creative Source, Captain Sky, Slave and so many more,

Adopted over here by Brit Funk bands in the early 80’s Like Atmosfear, Incognito, Shakatak, paid tribute to by Loose Ends and the SOS band and many more is now all of a sudden a music genre and style invented by Giles Peterson and acid Jazz records. in the 1990’s. There are countless examples of the Moody sound in the Soulhead tales. (Jamiroquai plagiarism list) See the recommendations for Butterfly and Mr moon. In the mean time get a history lesson from the Goddess who is CHAKA. She’s still around. Ask her if a DJ invented that sound in 1990’s London or take a listen her tribute to A Night in Tunisia.

THE JAZZ FUNK ATMOSPHERE OR DIZZY GILLESPIE AND A GENERATION OF BLACK AMERICAN JAZZ FUNK AND SOUL ARTISTS LIKE STEVIE WONDER, ROY AYERS, PARLIAMENT FUNKADELIC, QUINCY JONES, INCLUDING BANDS WHO ADOPTED THE SOUND OVER HERE LIKE SHAKATAK, ATMOSPHERE, INCOGNITO AND MANY OTHERS……IS NOT CALLED “ACID JAZZ” AND WAS NOT CREATED BY ANYONE HERE IN THE UNITED KINGDOM

REGARDLESS OF WHAT ANY SO CALLED “MUSIC WRITER” OR NEW MILLENNIAL MUSIC “EXPERT” TELLS YOU OR WRITES ON WIKIPEDIA IN PRINT OR THE INTERNET

The Late Great Dizzie Gillespie

ORIGINAL JAZZ FUNKATEERS.

Lets go onto some of the other 70’s FUNK geniuses who’s sound and songs were plagiarised by Jamiroquai with no credit given. Sounds which youngsters are being told by Eddie Pillar is called acid jazz…..

PROFESSOR HERBIE HANCOCK

 Herbie has made more albums than most people have had hot dinners. To call him a musical genius would be the greatest understatement of all time. Again you can explore Herbie’s incredible collection of groove yourself. He was right there in the beginning crafting the new sound of jazz much to the dismay of the JAZZ Purists who hated the idea. His sound is another sound cultural thieves acid jazz records claim as  “acid jazz”. Stuff  like Diggin’ out and the digeridooo all come form the early 1970’s experimental period of Jazz Funk. See the Soulhead Tales.

On the Internet they claim that Herbie’s Bassline stolen by Jamiroquai on was written by someone called Levy from the Brand new heavies. So yep one of the most famous basslines in FUNK history now apparently owes it’s existence to a 1990s British Rare Groove band signed to acid jazz records. They are all part of the same crowd, claiming retreads of classic Black American funk as their own creation.

So you’re saying I don’t exist…and a record company in England invented my sound…..acid what?….Gilles WHO invented jazz funk?

The sound of Herbie Hancock is now apparently called acid jazz, a Black music genre invented in London England by a pub DJ….That is according to Eddie Pillar and his gang on the Internet.

Miles Davis. The 60’s Jazz God whom alongside the Likes of Herbie Hancock, Donal Byrd and others actually INVENTED Black American Jazz Funk fusion. Certainly in the early 1970’s the old school Jazz crowd hated the sound. But things evolve. Both Herbie, Miles and many others took tremendous stick in the early days and were accused of being sellouts. Now these albums are considered classics. Bee bop it aint. Jazz Funk it is. MILES WAS THERE FROM THE VERY BEGINNING OF THE JAZZ FUNK FUSION ERA AND WAS THERE RIGHT AT THE END WITH TOM BROWNE, DON BLACK MAN, BERNARD WRIGHT  AND NEW YORK QUEENS CROWD. I touch on the sound of queens below.

Miles Davis was a JazzFunkateer And the sound of this Genius has absolutely nothing whatsoever to do with any record company here in London England in 1988.

PROFESSOR DONALD BYRD

Donald Black Byrd was alongside Herbie and is another one of the Musical geniuses who’s sound has been stolen and then claimed as a non existent genre called acid jazz. Jamiroquai plagiarize his sound on Black Capricorn day. as well as Roy Ayers. Eddie Pillar claims it’s acid jazz.

The clue as you have seen is in the title.  Donald Byrd’s talent speaks for itself  as Youngsters will discover when they feel the groove of the Professor and his students the Blackbyrds. Grooves like Dominoes and Rock creek park were played endlessly in London during the 70’s and when these sounds returned as Rare Groove in the 1980’s. Needless to say this sound is also apparently acid jazz. Jamiroquai rip off his sound on Black Capricorn day.

PATRICE RUSHEN

I will  say a bit more about Patrice as often She is left out when people speak about Jazz Funk giants. It might have something to do with the fact that lots of people only know her Disco Rea stuff like Haven’t you heard or her synth funk era grooves like feel so real. Many people don’t know her stunning 70’s Jazz Funk. She was right up there with the best of them. I wish she had created a stable of bands like Prince, Rick James, Roy Ayers and others did. It would have been interesting to hear bands inspired by her.

People often refer to her as the female Herbie Hancock in that she created innovative grooves and successfully moved with the times. Herbie is one of the greats and so is she. When in future people speak about the giants of Jazz funk like Herbie, and of Miles, Liston Smith, Byrd and others her name should be mentioned as well because she is right up there with them. She is far more talented than many famous female artists of the era with higher profiles. Singing music written for you is one thing, but being a classically trained musician with all the hard work and effort that must have taken, working in the studio with your engineers, writing your own songs, producing them and singing them all at the same time is entirely different. Jazz, Jazz funk, soul, latin fusion, synth funk, two step, she could do it all. That is super-talent.

Patrice Rushen. Queen of Jazz Funk and the Synth Funk era.

1970’s and 1980’s. Two decades of brilliance.

Many acts failed in adapting their sound but she didn’t, she was in the top class all the way through the 70’s and the 80’s. If Aretha Franklin is the Queen of soul then to me Patrice is the Queen of Jazz Funk. I can think of no female artist who matches her talent and stay ability.When the FUNK slowed down for a brief period in the early 80’s Patrice really came into her own. She had been here before a decade ago in the mid 70’s when she produced those stunning slowed down jazz funk tracks along with her brilliant song writers and her sister Angela. This time around those instruments were no longer the fashion but she still managed to produce some fantastic to step grooves that made her super famous with the newer generation who didn’t known or remember her earlier stuff. I recall an interview in B&S (Blues and soul) in the early 80’s where she spoke about having to do “more with less” as she was trying to adapt her sound to the synthesizer. 

Patrice Rushen the Queen of Jazz Funk is a deserved title. Patrice is very important in the FUNK. She was at the top of the tree in the early 70’s jazz funk period, in the disco era and in the synth-funk era. She also had a hand in the sound of Prince back in the early days and we all know what Prince went on to do in his later career. Kay stole Half the Man from giving up is giving in, Ripped off her sound on Part of Canned Heat, Little L and their Bossa Nova tracks, He kept quiet about that but claimed that her track music of the Earth was inspired by her whereas infact he stole it from Johnny Hammond and the Stone City Band.

Same ole smile! The sparkling smile we all remember glowing from her record covers of our  vinyl collections. Still looking great all these years later. Nothing of HER 70’s/80’s sound was invented by 1990’s plagiarists Jamiroquai. And nothing of her Jazz Funk was invented by the co-founder acid Jazz records regardless of what infiltrators of Black music write on this new digital Internet.

THE LAWS FAMILY

A Family that sings together stay together as the old saying went. Back in our day 60/70’s there were tons of families in the FUNK before the serpent new world order took over Black music to destroy creativity and promote degenerate rap in order to destroy communities. Most outsiders only know the Jacksons but the Sylvers, the Laws family, The Isleys, The Winnans, The Reddings, The Debarges and so on are all just as important to those of us who belong in the FUNK. The Jazz funk sound of Hubert and Ronnie Laws as well as the Soul of Deborah and Eloise are all styles of 70’s Black American groove that U.K based acid jazz records claim is a Black  music genre that comes from here in London. The Jazz Funk flute of Hubert Laws/Bobbie Humphrey etc as well as the sax of Ronnie Laws are just that. Black American Jazz Funk. Not a non-existent music genre invented by a London pub DJ in 1988 just because it says so on the Internet.

BOBBIE HUMPHREY

Another Queen of Jazz Funk and Soul. A super talented Flutist She was the first Female to be signed to Blue Note. Blacks and Blues is a must have for any Jazz Funkateer, but she has so many classics.  Mestizo eyes sounds like it’s been used on (Jamiroquai’s Corner of the Earth) Which also rips off the Bosa Nova sound of Patrice Rushen/E.W.F.  The ending of when you gonna learn sounds like it’s stolen from New York Times.

Bobbie and Bootsy Collins

JAZZ FUNK (sound of Queens NY)

Tom Browne

At the end of the period 1980/81 we heard what for me was the most stunning Jazz Funk we had ever heard. The sound progressed from the early experimental jazz Funk of the early 70’s into the slick polished sound you heard from Tom Browne Marcus Miller, Don Blackman, Sekou Bunch and others. And yes MILES DAVIS WAS RIGHT THERE. As i say on my review of Light Years, the Jamiroquai track which pastiches the Queens sound, NY Queens slick and sophisticated  but yet raw and street at the same time. Stunning Jazz Funk, stunning rhythms and grooves and viscous bass slaps to rival the Cameo sound of the time period (Feel Me/Cameosis) And Miles Davis was right there on Nard’s album and others.

  *Miles was there too finishing what he started in the early 70’s.

   Queens New York (Nard, Marcus Miller, Sekou Bunch, Don Blackman)

I can speak for London with authority but I will not speak for New York as I’m sure there were many underground bands laying down Jazz Funk as there were in London who never got a public airing. However going by what we heard from New York Queens I have to say was some of the greatest Jazz Funk ever created.   Was it that much different form the slick sophista Funk of the mid 70’s we heard from Pleasure and the Brothers Johnson. Well that depends on your groove but what made this different was that it was “street”. Jazz had a snobbish reputation more so in the 60’s and early 70’s than in the late 70’s but it was still considered to be somewhat elitist. Haboglabotribin

We were listening to what can be described as Jazz Hip Hop coming over from NY at the same time as Rappers delight was on the radio 1979/80. THe idea that Jazz hip hop is the invented of some record company created here in London is the most preposterous and ridiculous lie you could ever think of. NO ONE here in London England would claim that we invented Jazz hip hop It is total and absolute nonsense coming from Eddie Pillar, Gilles Peterson and their Internet disinformation machine.

Above; Marcus Miller back then. Below the celebrated Bass player that he is now.

The Likes of Tom Browne are the originators of what we later called Jazz Hip Hop in the 1980’s. Not a record label in London who have created nothing whatsoever

DON BLACKMAN-LEFT US TOO EARLY

The New York queens crowd added elements of what was happening at the time by adding elements of Rap, street noise as we called it or Rhyming whilst at the same time heightening that moody sound to orgasmic levels. Tom Brownes Funkin for Jamaica, Come for a ride and thighs high, Bernard wrights haboglobatribbin and Master Rocker, Don Blackman bringing his old Parliamentarian groove with him, Sekou Bunch and Marcus Miller thunderfunking the bass with some of the best Bassslap grooves you will ever hear. Queens was magnificent. The synth Funk era ended the Queens sound I love although Tom, Marcus, Bernard and Sekou went on the have decent careers in the 80’s. Sadly we lost Don and the great on Miles.  Jamiroquai stole the New York Queens sound on Light years copying the template of Tom’s Thighs high along with Roy Ayers. Fatback, and Parliament.

Eddie Pillar and Gilles Peterson invented Black American Jazz hip hop?!?

One of the sounds entwined in late 80’s FUNK is Jazz hip hop.  By the mid to late 80’s it was getting more and more popular   There were plenty of bands doing it in the mid 80’s. Black Americans like  a Tribe called Quest or British bands like The Jazz warriors. NONE of these sounds have anything to do with acid jazz records. Hilariously on their Wikipedia page of lies they claim that A Tribe called quest are an “acid jazz” band….really? So perhaps someone should ask ATQ  what aspect of their sound they owe to a record company here in London England!  And the other thing is this. There is no such thing as a hip hop beat. These are FUNK drum patterns fro James Brown and 70’s FUNK. Those who call these drumbeats Hip hop drumbeats are those who don’t know where the beats came from. I have head people call the Go Go drum clatter hip hop. They are not. GO GO is a genre in itself with its own groove. Pump me up and Bustin’ Loose for example.

Modern Jazz hip hop goes back to late 70’s New York and even further. As I state elsewhere the Americans were rapping and rhyming to jazz music going back to Funkin for Jamaica (Tom Browne) and Chilling out (Bernard Wright). No London record company invented Tom Browne, Miles Davis and Queens New York in 1988. “Telephone Bill” by Guitar Watson is another Jazz funk track with rapping on it (1980).

“Talking, rhyming lyrics to a groove is something you’d hear in the clubs everywhere from Macon to Memphis. Man, talking has always, always  been the name of the game”  –  Johnny Guitar Watson

Black American Rap in 1968!

And on a side note, The first real rap sound was when I was a tiny kid in back in the 1960’s. Pigmeat Markam (Here comes the judge) That was in 1968 when this 50 something year old Man was a little schoolboy was getting ready to watch the Moon landing, listening to the MOTOWN and the Beatles. And i have seen stuff from the 1940’s that one could describe as rap. And Black American jazz Men were talking and scating over Jazz way back in the early 20th century, So the idea that Eddie pillar and Gilles Peterson are somehow responsible for Black American Jazz /Funk/ and Rhyme or  Jazz Hip Hop is as ridiculous a lie as you could imagine. But then again they are claiming ownership of all styles of 20th Century SOUL just because they print their name on the front covers of compilations so you shouldn’t be surprised.

These cultural thieves, acid jazz records, are basically hoovering up all style of Black music then claiming they invented them.And whilst it’s not exactly hip hop. “talking over music” goes all the way back to Black American Blues of the early 20th century. That’s now 100 years ago. Try Whitewash Station Blues by the Memphis Jug Band. (1929). It was the kids of this generation like James Brown who created SOUL. Not Eddie Pillar, Gilles Peterson and Jamiroquai acid jazz records in the 1990’s. I digress.

.…………My sound is called acid what?

Miles Davis began the shift in sound during the early 1970’s and he was right there at the end of the Jazz Funk years as the synth began to take over. He also worked with Cameo during the 80’s. Miles was and still is a legend. He is right here in spirit.

NEVER LET ANY OUTSIDER TELL YOU THAT THE JAZZ FUNK FUSION OF MILES DAVIS, OF HERBIE, DONALD BYRD, GEORGE BENSON, GEORGE DUKE AND ALL THE OTHER ORIGINAL JAZZFUNKATEERS IS A MUSIC GENRE INVENTED BY ACID JAZZ RECORDS OR ANY 1990’S FUNK TRIBUTE ACT FROM THIS COUNTRY. AND NEVER LET ANYONE TELL YOU THAT JAZZ HIP HOP OR ANY SOUND OWES ITS EXISTENCE TO AN INFILTRATOR RECORD LABEL BY THE NAME OF ACID JAZZ. THESE 1990’s USURPERS, CULTURAL THEIVES AND PLAGIARISTS OWN NOTHING OF BLACK MUSIC.

WHEREVER YOU SEE THE WORDS ACID JAZZ ATTACHED TO JAZZ FUNK, JAZZ HIP HOP OR ANY STYLE OF BLACK MUSIC SEE IT FOR WHAT IT IS. AND ATTACK ON YOUR CULTURE BY THOSE WHO SEEK TO CULTURALLY APPROPRIATE IT.

Gamble and Huff (Producers)

The gods of Disco era FUNK If you ever watched the American version of the apprentice and heard the theme tune well you heard Gamble and Huff. (The Ojays- For the Love of Money) They were the most prolific songwriters and producers. They wrote for the three degrees, MFSB, Lou Rawls, The Jacksons, Teddy P, and many more. People like this are responsible for the Disco era sound others now claim they invented.

THE NEW GENERATION IS BEING INDOCTRINATED BY CULTURAL THIEVES ACID JAZZ RECORDS THAT THE BLACK AMERICAN DISCO SOUND OWES IT’S EXISTENCE TO THE LIKES OF JAMIROQUAI.

IDRIS MUHAMMAD

Idris is yet another great of the era plagiarised by Jamiroquai. Could Heaven ever be like this was straight ripped on (alright) and I don’t seem to see any credit given to him on the album cover. Come to think of it I can’t see any of these bands being given credit on any so-called Jamiroquai album. NOTHING on that track belongs to Jamiroquai. See THE SOULHEAD TALES.

The 1970’s Disco era FUNK of Idris Muhhamed who worked with people like Curtis Mayfield and Sam Cooke is now claimed as “acid jazz” a nonexistent Black music genre supposedly invented here in London in 1988 by a DJ called Gilles Peterson…..That is according to Eddie Pillar and his International crowd of cultural thieves on the Internet. Nobody in the Black community on either side of the Atlantic.

THE WORLD SOUND

THE SOUL/LATIN/AFRICAN/CARIBBEAN FUSION OF THE LATE 60’s EARLY 70’s.

It was rough raw and ready. Funksters will remember the early days of the 70’s when people were experimenting with all manner of sounds. Mixing Latin, African and South American sounds like Calypso into the groove.  Lots of it was based on a music genre called High Life from Ghana, a sound adopted later by Nigerian legend Fela Kuti. The Afro Beat and the Black Latin sound of the late 60’s has a major influence on early 70’s FUNK. Later on in the mid to late 70’s Earth Wind and Fire, George Duke especially polished the Latin Funk sound to perfection, but Mandrill Herbie, Osibisa, Cymande and many others got the ball rolling as far I remember. In the late 80’s and early 90’s when we were adults, this sound came back as Rare groove. Acid Jazz records claim this sound as 100% acid jazz. You will find this sound on many mixes they claim is a music genre invented in 1988 by Giles Peterson.

The African and Latin Sound

The African sound of  South America  was of course part of the FUNK. Bossa Nova, Salsa, samba, soca and calypso came from South America. Genres all of which (Apart from Soca) were incorporated into the FUNK  to varying degrees. Earth Wind and Fire, George Duke being two notable examples. Though we go back to bands like Mandrill and their British equivalents Osibisa and Cymande fo find it’s roots. And of course there were many other bands doing similar. You will find a lot of the African-Caribbean sound in the FUNK  and many of the Horn sounds in early jazz funk come from high-life. A genre which came from Ghana and was adopted by legendary musician and showman Fela Kuti with which he mixed everything from Jazz Funk salsa, calypso and traditional Nigerian Yoruba music.^[

The likes of Herbie and Miles Davis used a lot of these sounds in the early days and many jazzfunkateers went to Africa. Donald Byrd paid tribute to Ghana with the tracks Kofi and Fufu, Roy Ayers jammed with Fela  in Nigeria, this was great era and there were a whole lot of collaborations.  Lot of Jazzfunkateers landed in Africa during the 70’s. Makossa from Cameroon is another African genre that was sometimes incorporated into the FUNK  Manu Dibango’s  Soul Makossa (1973) is a legendary club track known worldwide.

Years later the words Mama-se, mama-sa, ma-ma-koo-sa appears on the Michael Jackson track don’t stop till you get enough. So don’t underestimate the impact of the African and Latin sound on the FUNK. Many of the Disco era bands toured Africa especially Nigeria. The mainstream media won’t tell you anything about it so ask an older African. My real Soul knowledge was learned In West Africa. Jazz Funk is full of the Latin and African sound but you have to know what it is to pick it out.

And none of it was invented by acid jazz records. NONE of these sounds have anything to do with them. UK Bands like Loose Ends, Linx, Galaxy and Shakatak were doing the Latin Funk sound in the early 1980’s. Singing by Delegation was a big underground hit. Jazz rap and jazz hip hop as I have already stated came from the states and started in the late 70’s and early 80’s way before acid jazz records was ever created. And rap goes way way back into Black American History. So all these sounds are from the 50’s, 60’s, 70’s and 80’s and Acid jazz records created in 1988 had nothing to do with any of them. They just want you too think they do. Go listen to Soul Bossa nova by Quincy Jones that was in 1962. So the idea that a London record company invented South American Bossa Nova in 1988 is just as ridiculous as the whole acid jazz cultural myth they are trying to create.

Mandrill

As I always say to youngsters. If you want to know what we called “The Funk” listen to Fencewalk by Mandrill. Mandrill inspired many bands in the 70’s including Earth Wind and Fire. The could do it all. Funk, Jazz Funk, Latin Soul,  Funk/Rock the African sound you name it. Among Funksters they have as much respect as Parliament Funkadelic. That’s how big Mandrill are. The old school FUNK of mandrill also appears on so called acid jazz albums. There is no such thing as a Black music genre called acid jazz.

When America had Mandrill & Funkadelic we had..

….Cymande and Osibisa. 

 Both OSIBISA and CYMANDE are well known to Funksters of the 70’s all over the Globe. Their fusion of Funk , Rock, Afrobeat, Soul and pop made then legends back in the day. OSIBISA were probably more well known to the public because of their smash hit Sunshine Day but both bands are equally respected among people who were into any genre. And like Mandrill/Funkadelic, OSIBISA and CYMADE had a big following of Rock fans as well as people from Africa and Latin America. All these sounds are being culturally appropriated by acid jazz records and reclassified as this non existent genre

Cymande and Osibisa. 

The Meters        

The Meters were once apparently described by Mick Jagger as the best band in the world. They were one of the many Funk bands doing the old style James Brown Groove in the early 1970’s. Back n the day s of Stax and Trojan.  I didn’t hear much about them in the Disco era. In my book Jamiroquai stole the groove from (Just kissed my baby) as well as George Clinton/Parliament. This was on the Emergency on Planet Earth album which Eddie Pillar & Gilles Peterson claim is a Black music genre called acid jazz. So they claim that James Brown is the invention of a record company. IT IS NOT.

The Meters. Back in the 70’s and now in the early 2000’s.

Jamiroquai’s whatever it is I just can’t stop is James Brown by the way of The Meters. We are being told that this sound is “acid jazz” invented here in London in 1988….So James Brown was invented by a London pub DJ Called Gilles Peterson……Apparently…well according to American and Eastern European zionists on the Internet.

Black American Gospel

LARRY GRAHAM

Larry is one of the biggest characters in SOUL music. Another Giant of the FUNK who would take all day to do a write up on. He was the bassist in Sly and The Family stone and is the godfather of the Bass slap. Jamiroquai copied or attempt to copy Larry’s (POW!) bassline on Traveling without moving and mimicked his Funk Gospel sound on Revolution which rips off  Momma by Ronnie Laws.

Black American Gospel is now called acid what?

The Bar-Kays

The Bar-Kays

Pic credit; The Stax Museum of American Soul-The Zelma Redding collection

 Barkays were already the stuff of legend before the disco era at the time of STAX, one of the dominant record labels in the first half of the 70’s. They used to be the backing band for Otis Redding one of the giants of 60’s Soul. Many of the band members were killed in a tragic plane crash along with Otis. On a side not the Reddings, the boys of Otis had a few FUNK hits in the 1980’s. (Remote control) was a hit in the London underground and (In my pants) was great track as well worthy of the Barkay’s and Cameo.

The Barkays were giants of the 60’s the 70’s and the 80’s having no problem adjusting to the electro sound. Just like Kool and the Gang they kept on top of the game, and alongside The Gap Band, Zapp, Cameo and Rick James to name a few they kept the Hardcore Funk fans happy winning many new younger fans. They appear in the film Breaking performing Freakshow, a groove similar to (No parking on the dance floor)  by Midnight Starr. If you want to understand the old Barkays of the 70’s then watch them at the wattstax festival 1972 and prepare to experience THE FUNK.

Two different eras two different style of dress and style of Funk

 Above The Barkays performing at Wattstax back in 1972

Below the 1980’s Electrophonic Punk Funk era Barkays

Jamiroquai ripped their track Night Cruising for Planet Home and gave them no credit

I think the Barkays will recognise Night Cruising on Jamiroquai’s Planet Home

Don’t you?

SOPHISTA-FUNK

SOPHISTA-FUNK

Jazz Funk evolves. SophistaFunk starts around 1975/75 at the time of Stevie’s incredible Songs in the Key of Life album. The sound of that album and tracks like Contusion or Black Man is something we hadn’t really heard before. As Berry Gordy of MOTOWN Remarked, The sound was unique. Needless to say there were plenty of others in the mix at the time and musical geniuses like Quincy Jones who knew how to handle a full orchestra came into their element. By now the sound of Jazz, Funk, Soul, Latin etc have completely gelled and sound better than ever before. It’s tighter slicker Sophista Funk was just that. Sophisticated Funk. It was slightly faster as the sound was speeding up then as we approached what we now call the Disco era of the late 1970’s. had incredible basslines, and psychedelic Dreamlike harmonies. Pleasure, T connection 

Quincy Jones aka The Q

Quincy Jones was already famous long before the 70’s. He had been around since the 1950’s before us Disco era kids were born and had worked with everyone from Dizzie Gillespie and Elvis Presley, wrote movie scores, TV themes, Produced some of the greatest Funk of the Disco era which included Michael Jackson’s Off the Wall and Light up the night With the Brothers Johnson which includes the track I personally believe to be the greatest track of the Disco era. Certainly Earth Wind and Fire CHIC! and all the rest were right there in the tidal wave of FUNK that engulfed us back then but there always seemed to be smoothing ta little special about the Quincy Jones sound. You could feel it even listening on the old fashioned radios we had back in the 70’s. Hear the quality of the sound on the music he did with Patti Austin like Razzamataz and Ai no corrida. Quincy Jones the man with the orchestra is for me at least the Godfather of sophistafunk. The Brothers Johnson albums alone prove that.

Thunder Thumbs & Lighting licks aka The Brothers Johnson

The Brothers Johnson were probably the Masters of the sophistafunk groove. lining up with the god that is Quincy they had the same psychedelic 70’s Funk harmonies of Roy Ayers, Herbie Hancokck and Liston Smith but what clinched it was the guitar work of Louis and George. The Bass slap took mid 70’s Funk to another level but the incredible sound of George on the guitar cannot be overlooked. Listen to Strawberry letter 23, a remake of a Shuggie Otis groove. Some call Shuggie the original Prince.

The gods of Sophista-Funk

THUNDER THUMBS AND LIGHTENING LICKS AKA THE BROTHERS JOHNSON

Jamiroquai do what sounds like a weak copy of the classic Brothers Johnson sound towards the end of the track (Emergency on Planet Earth), mimic the chorus of their track (Tomorrow) on the intro to just another story, plagiarize the horn section of Tokyo on (Bullet) and loop the intro of (Light up the night) on Titan/Every bodies going to the moon. Canned heat has the feel of (The Real thing) from the Winners album as well as George Duke, Positive Force and others. See the SOULHEAD TALES.

THE SOUNDS OF THE BROTHERS JOHNSON DOES NOT COME FROM A LONDON RECORD COMPANY FORMED IN 1988

PLEASURE

It’s a great travesty that Pleasure for whatever reason didn’t get much airplay during the late 70′ but there were just so many amazing bands around during the disco era competing for airtime It’s not that really surprising. I think they were more well known in the U.K than in the States. It was in the late 1980’s and early 1990’s when 70’s Funk began to return that Pleasure became famous among the youth and older Funkster who hadn’t heard them before. Or like many though Glide was done by Slave.

Their Psychedelic harmonies, slick tight horns and the thunderous Basslines of Nate Miller were a match for The Brothers Johnson.  Sadly like many of our bands from the 1970’s they broke up in the post Disco era when the sound changed. The Dazz Band would be the closest band to Pleasure in the 1980’s and I read anecdotally that some of the members of Pleasure joined the Dazz band though I can’t confirm it. High Times is ripped from the intro of Universal mind by Pleasure. Pleasure is one of the few bands they admit to listening to but I’ve never heard them mention Universal mind. 

PLEASURE 1976-1982. We are now being told The synagogue of Satan that they owe their sound to 1990’s plagiarists Jamiroquai and that their brand of Sophista-Funk as well as that of 70’s Giants like the Brothers Johnson is called acid jazz and owes it’s existence to a London pub DJ.

EARTH WIND AND FIRE

After Stevie Earth Wind and Fire are probably the act Jamiroquai have stolen from the most. They have plundered their albums, looped and straight copied their groove whilst imitating their Energy Signature then taken credit for it.

E.W.F or the Elements as we call them are in a class by themselves. If you don’t know who they are then their sounds will blow your mind. There is probably no one who can touch them in the Disco era other than CHIC! or Quincy’s crowd ( Michael Jackson, The Brothers Johnson)  and maybe the Jackson’s. Yes there were many incredible artists but E.W.F were and still are something else. The spiritual sound and the messages within are unmatched by anyone though Roy Ayers told people a lot about life. These are the messages the new world order are trying to erase from music in order to dumb down and destroy the youth.

They incorporated the Latin sound, Calypso and even the didgeridoo into the groove. The Phenix Horn section are probably the most famous Horn section of them all. As you would expect the Orchestral sophistafunk sound of Earth Wind and Fire didn’t fair too well in the Electro Funk era. Its not really a sound that translates into the synth.

The toned down RAISE album their post disco album was spectacular but it was nothing like the old 70’s E.W.F we had grown up with. The sound had changed. By 1983 as the post disco period ended and the charts were full of Electro-Funk the all singing all dancing orchestral sound of the 70’s had gone out of fashion. They still made some good albums and were  in the 80’s but not a visible as they had been in the 70’s. They did a lot of work over here in England. The Phenix horns went off to work with Phil Collins, who also had a pop hit with lead singer Philip Bailey and some of the guys worked with Level 42. Phil also had a solo career during the 80’s and did a great cover of Children of the Ghetto originally by Brit Funk Heroes the Real thing. Legacy as far as the 70’s/80’s is untouchable. Many people describe them as the greatest Funk band of the era and it’s difficult to argue that they are not. The spirituality in their groove and the messages therein put them one step ahead of the rest. See how many times they mention the word Love. Listen to the messages in their songs. They well understood the Kemetic laws and their own history. They told you what to do and challenged you to change.

Celebrate- E.W.F

WE HAVE LOST MAURICE WHITE TO THE ANCESTRAL PLAINS BUT E.W.F ARE STILL WITH US AND LONG MAY THEY AND ALL THE OTHER CREATORS OF SOUL MENTIONED ON THIS BLOG CONTINUE TO BE AROUND. THEIR LEGACY WILL NOT BE STOLEN FROM THEM BY ANYONE.

Jamiroquai looped the intro of (My Love), copied the singing style of Maurice White, their track (Shining star) and the ending of Planet Home from E.W.F. Mimicked their style on the Bossa Nova tracks like corner of the Earth, copied their basslines on (you give me something) and on (Slipping and sliding) ripped them off on (Our Time is coming) & other tracks. SEE THE SOULHEAD TALES.Then see if you can see credit given by Jamiroquai.

CON FUNK SHUN

Con Funk hun were around in the lat 1960’s but us disco kids didn’t know who they were until the late 1970’s. With two lead singers and a stunning horn section people compared some of their stuff to Earth Wind and Fire. Too tight for example. I can hear what sounds like the Confunkshun Horn section on Where do we go from here (Synkronised 1990) alongside plagiarized early 1980’s grooves from (New York) Skyy and Ernie of the Isley Brothers.

KOOL AND THE GANG

Kool and the Gang are the one band I consider to be the equals of Earth Wind and Fire. They too were around years before they became popular and known to us Disco era kids. Their Raw Funk of the 70’s is Legendary but their lesser know transcendental spiritual sound is a match for Earth Wind and Fire.Whisper softly, Sunshine and the Disco smash open sesame for example. Jamiroquai ripped of Kool and the gang on Emergency on Planet Earth which is just a remake of Rolling.

The Randy Muller

BT Express, Brass Construction, Skyy, Raphael Cameron.

Randy Muller is one of the most important people of 70’s FUNK. His Funky sound is the stuff of SOUL Legend. Tracks like Movin’ and Changes are Disco era classics. BT Express his other famous band were almost as popular. Known for his hard Funk sound, driving rhythms and distinctive voice the disco era wouldn’t have been the same without Randy Muller.

Skyy who came later showed that he could do the soft core FUNK as well. Nobody could believe that Randy was behind tracks like (Here to you) by SKYY which matched CHIC, DYNASTY, DELEGATION and others doing that sweet violin sound at the time. Jamiroquai copied the intro and the famous Horn rift from Movin’ as well as parts of the groove on hooked up.

So you’re saying my sound was invented in London England in the 1990’s…..

…get outta here!

THE 70’s SPACE AGE (COSMIC) SYNTH

Another Black American sound of the 1970’s Invented by Giles Peterson in 1988 according to the acid jazz cabal on Wikipedia Now apparently a music genre called acid jazz. Stevie and his vocoder, Billy on the Clav, The incredible cosmic sound of Worrel, Herbie, Lonnie Liston, Roy Ayers, Greg Phillinganes the name you saw on so many albums but didn’t know who he was because he kept such a low and humble profile, George Duke, Johnny Hammond, jimmy smith, The Funky worm, the greasy synth all the old keyboards sounds you remember are now supposedly 1990’s acid jazz from London, invented by a DJ. A magazine claimed that Jamiroquai were using “acid jazz” style keyboards on the Space cowboy album. Perhaps someone should tell them who Bernie Worrel is. See the SOULHEAD TALES.

The sound of Bernie Worrel (Parliament Funkadelic) was plagiarised by Jamiroquai on tracks like Planet Home and Just another story. WE are now being told that his styles as well as that of the other great keyboard geniuses is called “acid jazz” and was invented by the co-founder of acid jazz record Gilles Peterson.

You kiddin’ me…..ACID WHAT?

The late great Bernie Worrell. The man on the Keyboard of Funk Classics like One Nation under a groove and knee deep now has his sound attributed to 1990’s Jamiroquai.

THEY CLAIM THAT NEW JACK SWING AND NEO SOUL WERE ONCE CALLED ACID JAZZ….REALLY? see if you can find any evidence of that in any Black Music publication or on any T.V show or in any club report anywhere?

 Lets not forget as you have already seen they claim late 1980’s New Jack Swing & 1990’s Neo Soul bands are also playing this elusive acid jazz genre for which nobody can name a single tune. So they are essentially claiming all styles of Black music from 60’s Motown to 90’s Neo Soul was invented by Giles Peterson here in London in 1988. Well they claim Giles Peterson is credited with creating this genre do it follows that all “acid jazz” FUNK, JAZZ FUNK DISCO, NEW JACK SWING, NEO SOUL BLACK AMERICAN GROOVE is his invention.

YOU WILL FIND NO MENTION IN ANY BLACK MUSIC PUBLICATION OF THE ERA WHICH CREDITS A LONDON DJ OR ANYONE ELSE WITH THE INVENTION OF A MUSIC GENRE CALLED ACID JAZZ. SOMETHING THEY OBVIOUSLY DIDN’T THINK ABOUT WHEN PLANNING THE OR CULTURAL THEFT  OF BLACK CULTURE.

New Jack Swing

The Black American sound of the late 1980’s which they claim was once called acid jazz. No one called New Jack Swing Acid Jazz because there is no such thing as a Music genre called acid jazz. That is why you will find no reference to anyone calling New Jack Swing Acid jazz in any Black music publication, any film or any T,V show, Infact New Jack Swing was in existence before Acid Jazz records was even created by the Synagogue of Satan!

NEO SOUL

The Black American sound of the 1990’s which they also claim was once defined as acid jazz. So as I say in 10 easy ways to debunk the acid jazz lie, ask the Black Americans if they ever called New Jack Swing and Neo Soul “acid jazz”. Or attributed their sound to a London pub DJ.  If  Britain influenced the American sound of the 1990’s it was because of Sou to soul, Loose Ends, Billy Ocean, Omar and the rest of the 1980’S British Soul invasion that acid jazz records are trying to wipe from history.

IT HAD NOTHING WHATSOEVER TO DO WITH ANY RECORD COMPANY THAT NO ONE HAD EVEN HEARD OF UNTIL THE MID 1990’s JUST BECAUSE THEY PRINT THEIR SATANIC NAME ON THE FRONT COVER OF NEW JACK SWING AND NEO SOUL MIXES .

As you will see in TEN EASY WAYS TO DEBUNK THE ACID JAZZ LIE, You will find no mention of New Jack Swing, Neo soul or any style of Black music ever being defined as “acid jazz” at any stage in the 1980’s because it does not exist and no record label or DJ in this country or this City of London England is responsible for any style of Black music. You will find no mention of  any “acid jazz” bands,”acid jazz” charts,”acid jazz”singers, singles, albums or anything at all to do with this non existent genre.

THAT’S WHY NEITHER EDDIE PILLAR OR GILLES PETERSON OR INDEED ANYONE ELSE CANTELL YOU THE NAME OF A SINGLE SONG THAT BELONGS TO THIS FAKE SO CALLED GENRE. AND NEITHER CAN THEY TELL YOU EXACTLY WHICH JAMIROQUAI TRACK BELONGS TO THIS SO CALLED GENRE.

THE CHARTS AND THE T.V SHOWS AND THE MUSIC PUBLICATIONS WILL PROVE THAT THERE WAS NEVER EVER A BLACK MUSIC GENRE CALLED ACID JAZZ INVENTED HERE IN LONDON IN THE 1980’s OR AT ANY TIME. IT DOES NOT EXIST. .

SO CALLED ACID JAZZ DOES NOT EXIST. IT IS A SERPENT MYTH IN ITS EMBRYONIC STAGES. STAMP IT OUT BLACK AMERICA

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 16^th 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….

Plagiarism on Automaton

AUTOMATON

EXPOSING THE ANTI-FUNK

THE ORIGINAL SOULHEAD TALES-JAMIROQUAI Influences on Jamirotalk fansite.

JAY KAY, Who like all the Jamiroquai members had an account on the old Jamirotalk site was clearly watching the Original SOULHEAD TALES.

When people tried to Join they were asked by the Website Owner Why do you want to join Jamirotalk. Now why would you ask such a question on would ask. Well the reason became apparent after AUTOMATON album was debunked like the rest of their albums totally destroying the credibility of Jamiroquai to Forum members. The Jamiroqiuai Acid Jazz gangstalking cabal including Jamiroquai band members obviously were all present on The Jamirotalk website as the Original Soulhead tales Jamiroquai’s Influences was being dreated right in front of them.

Going back to 2017. As Jamirotalk members (The old Jamiroquai fansite) will recall Automaton was suddenly announced on the forum by fake dis info account Vintage 73 whilst I was completing the list you see on this blog. “Vintage 73” Pretending to be an old Funkster claimed that he had stopped listening to Jamiroquai but yet strangely was the first to announce the new album. That’s becuase he is part of their crowd.When it was released he then panned the album trying to mimic the behavior of less polite Soulheads who call Jamiroquai out for plagiarism. His other account Honeybee then praised the album calling some of it unique whilst another one of their accounts “Mr Mr” told us that Jamiroquai were never a retro band! Jamiroquai influences had somehow been wiped from the search engines overnight. It should also be mentioned that the Album was released the very next day after I declared the list finished and the site went down (DDOS) not long afterwards.

They will do whatever they can to hide the truth. And some of you will know that a group of them have been trolling, harassing and even trying to threaten people who quite rightly complain about Jamiroquai not giving credit to any of the bands they plagiarised. They operate just like the cabal. They use exactly the same tactics.

Automaton review

I looked at some of the reviews of this album and as you would expect they leave a lot to be desired. One of the reviews I read refereed to this album as a Daft Punk tribute album.Total rubbish and Daft Punk are nothing more than a tribute band themselves.Nothing on any Daft Punk album is original. Daft Punk are the other half of this Cultural appropriation Scam.  Writers who refer to Daft Punk as EDM are rather like writers who refer to Jamiroquai as acid jazz. EDM and Acid-Jazz are both totally meaningless 1990’s terms invented by people to appropriate a sound they didn’t invent. The same with silly names like Nu acid jazz. Outsiders trying to re-classify Black music and take ownership of it.

Acid jazz never existed in the first place it’s a lie. listen to these mixes and all you will hear is a mish mash of Jazz funk, Blue note, new jack swing and so on. So don’t be fooled by fake naming conventions invented by Eddie Pillar, Gilles Peterson and the Synagouge of Satan. So called Music critics and writers who refer to Daft Punk as 1990’s EDM simply don’t understand 1970’s Euro Disco, or Electrophonic-Phunk, they don’t Know Clinton and Parliament or Roger Troutman and Zapp Let alone Mandre, The Isley Brothers or Dexter Wansel. they didn’t experience Electrophonic Phunk or the breakdancing era of the early 1980’s. They don’t know what Dace offs were or the Graffiti  associated with Electro/Rap culture was.

They have never heard of Tyrone Brunson, The Soul Sonic Force, of D-Train and or the early 1980’s Electro Phunk bands like Midnight star, Starpoint, Atlantic star and all the rest. They don’t know who Kashif, Leon Sylvers or Jimmy Jam and Terry Lewis are.  I mean have they ever heard Atomic Dog by Clinton? They know nothing of the 1980’s. They don’t have a clue. They are in these jobs because of who they know not because of what they know. So they think Daft punk invented Electro Phunk in the 1990’s.  It’s  just like those who refer to 1970’s Jazz Funk and Soul as acid jazz don’t understand 20^th Century Soul Music. Nothing on this album belongs to Daft Punk. We heard all of this in the 70’s and 80’s. Ask your elders.

What type of album is Automaton

AUTOMATON is a Synth Pop and Soul Album. In the 1980’s it would have been classified as such. It’s commercialized SOUL. A Funk band would not have produced an album like this. Tracks such as Nice and Spicy would have made it into the Soul singles charts but that’s because they are pastiches of old Soul tracks. The Album would not have been classified as Soul. In discussions on the Wikipedia talk page Jamiroquai, who should not be reviewing their own music.(It’s a conflict of interests) remarked that they were not sure if they could use acid jazz as the overall genre on the grounds that it was loaded and contentious. Well It’s loaded because it’s a cynical attempt to Appropriate Black music. But it is in no way contentious. Its doesn’t exist. It’s a lie. It’s just Rare Groove

As for the reviewers the only thing they got right was when they called the album consistent. Well certainly it’s the most consistent album since Funk odyssey but it’s consistent for a completely different reason.  Jamiroquai Soul albums and all the music on them is basically a summary of the funk time line of the 70’s and 80’s. Funk odyssey is consistent because it mimics a post disco album.1980 to 1983. To generalise slightly, albums leading up to that period, between 1977 and say 1980 at the very height of the Disco-era were hell for leather roller-coaster rides with many different styles of Jazz, Funk, Soul, Latin and Disco all crammed into one album.

Synkronised equates to albums like MJ’s Off the Wall or The Brothers Johnson’s light up the night. A Funk Odyssey’s which overlaps and would have followed Synkronised in the post disco period  1980 to 1983 equates to the Next Brothers Johnson Album, (Winners) Stevie and Jermaine Jackson’s (Lets get serious) or even The (Ladies Night) album by Kool and the Gang. Calmer softer, melodic, all on one level. One or two fast tracks then peace and tranquillity. Albums in this period left you feeling like you were back in the 70’s listening to an old Marvin Gaye album Or the calm softness of Kool and the Gang’s (Open Sesame) Album. It was a brief period of calm before the Electro-Funk storm in 82/83. It’s often quiet for long periods when a major storm is being planned.

Automaton on the other hand is consistent because its basically the same groove stretched over an entire album. It’s something they have done in the past but not across a whole album. Deeper Underground for example takes the groove of Black Britain’s (Ain’t no rocking in a police state), stretches it back to the original drumbeat and synth of early 80’s Prince’s (Lady cab driver), then back to the 70’s with The Isley Brothers, ( Stevie Wonder and his old Motown buddies The Jacksons) Johnny Guitar Watson completes the groove with (Funk beyond the call of Duty) as I see it.

Another example is Hooked up which as I see it takes the Terrance Trent D’arby’s (Dance little sister) and stretches it back to the original sound of ten years previous with Chuck Brown’s Go Go beat and Roy’s Ubiquity album with (Cincinnati), (Tongue Power) and (Brother Green) grooving away in the background. Planet Home takes the Punk funk groove of the mid 80’s, stretches back and picks up the originator Rick James, merges the Barkays take on Punk Funk (Night Cruising) adds a bit of Shalamar (Right in the Socket) then ends like a classic Earth Wind and Fire track. (Imagination) for example. It bases part of the template on Knee Deep by Parliament which kick started that deep Moog sound adding the choir into the mix E.W.F style. All Jamiroquai Soul tracks are without exception pastiches of pre-existing grooves. They are retreads and re-runs of old Soul tracks. What they do is pick a particular sound,  look for common denominators , create a Musical Pastiche then sign their names to it. They have basically hoovered up almost all of the sound frequencies of 70’s/80’S FUNK for Eddie Pillar and his mob to claim as Acid jazz.

So having copied all the sounds of 70’s and Early 1980’s FUNK unless you’re going to create something new which they have shown they are incapable of,  then there’s nowhere left to go in the 1980’s other than past 1987 into the New Jack Swing sound which was pretty bad. After that, well we’re in the 1990’s were they started by plagiarizing Rare Groove. So I woulds suggest they have taken the sound ambience of 1987 and stretched it they other way back to about 1979.  The starting point I would say is Loose Ends and not just because the album cover colors match. At the time The SOS Band had a similar dark sound. Anyway lets go through automaton, And it should d be noted that Jay Kay in addition to stealing Music from the original Soulhead tales also use stolen artwork he obtained from hacking on his album.

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Nice and Spicy

acid jazz

(1980’s Synth Funk)

[Manhattan Rhythm/The Bar-Kays/Fatback]

(Credited to)

Jay Kay & Matt Johnson

, That guitar and the groove sound like it’s copied from Manhattan Rhythm’s (Sweet Lady) which I had already recommended on jamirotalk for (So good to feel real). It’s that dreamy late 70’s Gamble and Huff type sound. You can hear similar on tracks like (Boogie Ooogie) By A taste of Honey. Little L copies the bassline on that track  The Keyboards sound like Fatback (She’s a go getter) another track I’ve already recommended. The chorus basically copies the groove of The Bar-kays (She talks to me with her body) They haven’t been in Barkays/Commodores territory since (Feels just like it should). Another Pastiche of other peoples sounds from someone who clams that taking other peoples music is Plagiarism.

Lyrics; “I’ve been thinking about you” that was the London Beat who did a track by the same name. I call this FUNK. Other than some of the keyboard sound which is synth pop. It has a similarity to the old Brit Funk sound of Second Image (Searching but not finding) or (There she goes).

Recommendations

 A Taste Of Honey (Do It good),

 Commodores (Brick House),

Lukk (On the one),

Champaign (Off and on Love),

 Rene and Angela (I’ll be good)

Vertical Hold (Summer time)

Vitamin

(Late 1980’s Synth Funk)

acid jazz
[Loose Ends/ Roy Ayres/ Stevie Wonder]

(Credited to)

Jay Kay & Matt Johnson

The intro’s something played backward. There were literally thousands of tracks with short electro style intro’s (Something special) E.W.F or Marta Acuna (Dance Dance Dance) for example. The song  comes over a bit like the start of (Party Train) by the Gap Band. Dexter Wansel’s (Life on Mars) album is a recommendation. The groove is basically Loose Ends (A New Horizon) If you were jammin in Soul clubs in 1986/87/88 this is what some of the music sounded like. It has the feel of the era. We have Roy Ayres style keyboard’s and vocals In this track as well, all that’s missing is the vibraphone. The unintelligible lyrics are in the style of another Loose Ends track that I can’t remember. I thiink he was yodelling in the intro. The sax sounds like the intro to (Choose me rescue me) also Loose Ends.

At the end we go from the late 1980’s back to the golden year 1979 and MJ’s Off the Wall. It’s that (I can’t help it) groove again, the one that Stevie left off of the (Songs in a key of life album) yet another previous recommendation form my list. The lyrics “You got that magic touch” confirms the Loose Ends connection. (Magic Touch) is a Loose Ends track. There is a Roy Ayres track in there somewhere but I can’t remember it. So the overall feel for me is what I remember from 1987 to 1988. When British Soul was dominant.

The Loose Ends (So where are you) Album or The Roy Ayres (You might be surprised) albums are recommendations. So as you see they they haven’t changed a bit. They take other peoples music then claim ownership of it.

Automaton

acid jazz

(Early 1980’s Synth pop)
[Wayne Henderson/Stevie Wonder/ Blondie/CHIC]

Alphaville; Sounds like a melody and Stevie Wonder; All day sucker

(Credited to)

Jay Kay & Matt Johnson

This is a synth-pop track obviously. I recognised Stevie Wonders (All Day sucker) at the end of the track but not the rest  of it.  After I had listened to all the sounds and written a painstaking review It turned out that Jamiroquai plagiarised Alphavilles sounds like a melody from 1984! Below was my original review. I have included it so you can discover new music and similar grooves if you like Automaton. All these sounds predate the Alphaville track. So once again they have taken a copy and copied it.

Original review.

No this is not a FUNK track but it contains FUNK.. People kept claiming that Automaton is FUNK. It isn’t Funk. It’s Synth Pop. There is more to Funk than just a beat. Lets take for example track like (I wont let the sun go down on me) by Nick Kershaw. It’s Funky but it’s a synth pop track. The intro is pure Funk but the chorus is pop. That’s how synth pop songs were composed and many of these synth pop artists were closet Soulboys. They also grew up with MOTOWN and FUNK in the 60’s and 70’s and you can hear all those influences in Synth Pop of the early 1980’s. Synth pop is funky by default. The reason being is that synth pop was essentially watered down Funk played by pop bands. It’s different from normal run of the mill pop music. During interviews all of these bands would mention James Brown and or Stevie alongside their Rock idols as inspiration. They all credited MOTOWN and Soul music.

The intro sounds like classic 70’s Electronica as people call it nowadays, along the lines of Dexter Wansel, George Duke, Cerrone, Jarre, Mandre, Morroder etc. There were loads of others. It’s that bubbling synth sound which was around in the mid1970′. It was much used in early 80’s UK synth pop, Yazoo (Only you) for example. An fantastic old Brit Funk track (Running with the River) by Dave Roach has a similar intro. And (Magic Man) by Herb Alpert has a similar feel to it as well. It’s an old Groove which goes back past Stevie’s (every time I see you I go wild) and back to Original Jazz as I’ve mentioned before. (Rush over) by bassist Marcus Miller, Who you can hear delivering justice on Tom Browne’s (Thighs High) is a recommendation. I think it’s Marcus but it may be Sekou.

The track progresses and we launch into a synth bass. Lets split the bassline in two. The first part sounds like a more funked up version of a Wayne Henderson with Roy Ayres on (No deposit no return) another previous recommendation of mine, for the horns on (Blow your mind). Strip away the piano intro and the horns and there you have it. Another similar Henderson bassline is (Hot stuff). Wayne Henderson’s (Mysterious maiden) was one of my recommendations for (Black crow). Earth Wind and Fire (Turn into something good) is another candidate for the bassline.

The second part of the bassline has the “stutter” of Johnny the “Hammond” Smith’s bassline on (Tell me what to do), my recommendation for the 2nd half of the bassline of (Hooked up). So unless it’s based on something else, I see the bassline as Wayne Henderson meets Hammond Smith.The Groove of the bassline in part reminds me of old school UK Soul Man Tom Jones’s (What’s new Pussycat) as well. Again Strip away the the chaff and hear the groove. The Piano/Bassline Intro to (Holiday) by Mandrill (Which I see as the origin of the “Swan Call” on Love Fool) Is similar as well. Automaton skips a few beats but people will recognise the feel of the groove in all the above.

The chorus is Pop and the style is familiar from the first half of the 80’s, especially the way “Eyes without a face” Is sung. It may come from Billy Idol. Similar to Neil Tennant of the Petshop Boys. Synth pop isn’t my specialty but it sounds like the way He used to sing. There’s something perhaps of Men at work, an Aussie pop group who made a track called (land down under) or maybe Erasure who made a track called (sometimes). I recognise the style but I can’t say who it might be as I don’t have the knowledge of synth pop. Some of the vocal delivery sounds like The Supremes (You keep me hanging’ On) “Set me free why don’t you babe” and you “keep me hanging on” specifically.

Then groove changes. At first I thought it was Rick James/Stone city bands (All day and all of the night) That would have been the third dip into the Punk Funk as I see it. The first being (Tin Soldier), the closest track to (Music of the mind). At the time some may have seen Tin soldier as a tribute to the Johnny Hammond sound of our youth. And music of the mind is the Johnny Hammond sound. The second track they copied from The Stone City band was (Freaky), the track any Rick James/Stone City fan would have thought of when listening to (Planet Home) for the first time.

More Stevie Plagiarism; After a couple of listens I remembered (All day sucker) The ever present Stevie Wonder. Replace “Automaton” with all day sucker and there you have it. The style of singing sounds like Blondie’s rap and there’s a hint of Nile Rogers somewhere in the background maybe from (Good times). There will be other closer tracks from the synth pop world. It’s Funky but it ain’t the Funk.

EDIT; Well now I know that other track was Alphaville. And so do you!

So that confirms what I said about this being a synth pop track. Yes it’s Funky but that keyboard sound was used by synth pop bands. Compare it to the synth of The Gap Band, CAMEO and Rick James or The SOS BAND & Change at the time. THAT was the FUNK synth. Lots of people listen to Funk but not everyone can feel it. And It is a feeling. Blues and Soul magazine used to refer to it as an energy or an attitude. Its the fever. A phrase that was in existence before the film. It’s what some of you will feel when discovering the bands on my list. The FUNK was and is there to lift and guide you. It can help raise you to great heights and when things go wrong it helps Funksters cope with loss, tragedy, breakups or what inverted beings mock as soliloquies of sadness. It bought people of all races, creeds and colors together, which is exactly why the powers that be want it to die out. Or re-classify it as Acid Jazz so they c an claim they invested it.They would rather have people listen to meaningless rubbish like rap. Have communities destroyed and create friction amongst the different races and religions. That way they can get us fighting amongst each other. The excuse they need to impose their order on us. Then sometime in the future they will bring it back these sounds and claim that they invented this Energy. And then try and say it’s called Acid Jazz.

Something about you

acid jazz

(1980’s Synth pop/Commercialsed Soul)
[Junior Giscombe/Michael Mc Donald/CHIC/Barry White]

(Credited to)

Jay Kay & Matt Johnson

Another Pastiche. The four strikes at the intro switched to a piano and the four “knocks” in the background takes me back to Streatham boy Junior Giscombe and (Too late) The follow up to his transatlantic hit (Mama used to say). Yet another track I previously recommended on the Jamirotalk list. This is the very start of the 1980’s Brit Funk invasion of America. Overlaying the groove I also get the feeling of Michael MC’ Donald’s (Keep forgetting). The bassline in part also gives me Starpoint (Don’t leave me) . I recognize the guitar @ 11 from somewhere in the rock or pop world. The next part where the synth comes in I also recognize but I can’t remember if it was a Funk or Pop track. So it might be a Funk groove using synth pop keyboard’s like Fatback’s (Go Getter) on Nice and Spicy, but that’s just a guess.

The Chorus. I absolutely know that synth sound. I Recognize the singing style “it’s so tragic to loose that magic,” it’s possibly from someone like the Pet shop boys again, I can hear the song in my head but cant place it as yet. I suppose I should mention George Michael and Prince as well. And Howard Jones. Maybe it’s from a Paul McCartney and Wings Album. The singing style also reminds me of (Let em in). Macca used to mess around with the synth in his post Beatles days (Wonderful Christmas time) which I previously recommended for the (Runaway) Intro is similar.

This bit I recognise. A strike of the Violin and we go back to Nile Rogers again with a bit of that chopping guitar in the style of CHIC’s M.M F.T.C.F”. The familiar 1970’s bassline they constantly use makes a return again this time with violins. I hear this as being that of the original early 1970’s violin genius.

So its Barry White & Gloria Scott (Just As Long As We’re Together) 1974. I think there’s another track In there somewhere but I can’t remember it. It’s similar to the intro of Boney M’s disco-tised version of (sonny) one of my recommendations for the end of (Revolution 93) which I see as mostly as being based on Ronnie Laws (Momma). Maybe it’s (watching you) by Loose Ends.

Another old Brit-Funk track (Something about you) by Level 42 isn’t the same groove or bassline but it kind of gives me the same kind of feel so lets just call it a recommendation. Overall the track sounds like the sort of stuff George Michael would have done. Being a London Soulhead he knew all these 70’s sounds and combined them together in the 80’s. You can even hear The Gap bands (Burning rubber) towards the end of one of his tracks. Complex but all familiar grooves from original Funk. Knowing them we can’t rule out that they copied another track.

The Gap Band (I owe it to myself)

Dr Buzz
(1980’s Synth Pop)
[Cymande /Incognito / Loose Ends/ Barry White/ Van Mc Coy/ D-Train]

(Credited to)

Jay Kay & Matt Johnson

A slow burner, one of the reasons I never make snap judgment or do reviews of albums until I’ve listened to the tracks over and over again. I dismissed it at first but it’s quite interesting. A lot of thought has gone into this track. The intro is similar to Shokk (Amazing). The “Ooooh” sounds like Aquarian dream; (You’re a star). Another groove which incorporates the bassline of choice. British again. The drum beat sounds like the start of the classic Brit Funk drumbeat from Cymande, (Brothers on the side) There’s another closer drumbeat in the 70’s. I know that other bassline from somewhere. It’s similar to the start of (Super Woman) by Stevie. Or (Don’t be Lonely) by Cameo. “Till it’s shining bright”. It’s that “dynamite dynamite” tone of CHIC’s “Dancin, Dancin” or Kano’s (Can’t hold back your lovin) “She’s Dynamite, Dynamite”

Again I half recognise the pop chorus part. I can’t really say who if anyone it’s based on. That guitar “twang” Is familiar. Then there’s a switch in groove. …“ Can’t you see the colours”… Okay, the next part of the bassline is familiar. It sounds a bit like Part of Incognito’s (Parisienne Girl). The part they sing in Spanish (I think it’s Spanish), just before they go into the George Duke (Brazzilian Love Affair)  type groove. Or maybe the chorus of another old Brit Funk track by Savanna (I can’t turn around). The keyboard sounds a bit like Jeff Lorber’s (Warm Springs) when the song gets underway not the groove but just the sound.

Another switch in groove towards the end “can you feel me…” Okay, now we’re in 1980’s London With the Sax we were all obsessed with going on in the background. Very British. Loose Ends meets George Michael. The Female vocals sound like Jane from Loose Ends or Pepsi and Shirley with George Michael. (I think they followed him from Wham but I’m not sure)

.,..Now here come SO19 (London’s armed cops). That’s the Loose Ends (Emergency Dial 999) voice in the background. (Gonna Make you mine) by Loose Ends is also recommendation for this part. “Balababa Balababa” Cameo: (Sound Table) or Parliament’s (No head no backstage pass), Ultimately Stevie as ever. George Michael did that somewhere I think.

Deep in the background I can just about hear the groove to Van MC Coy (Do the hustle).
I think he got it originally from Barry White. Which leads us into the most emotionally charged ending since the sound of the universe on Planet Home.

“Strains got a hold on me. Can you feel me and it’s hands up don’t shoot”!….Then it’s that sad heart wrenching post disco melancholy sound again. That part sounds like Big Bad James “D Train” Williams, It mimics the emotion of songs like (Trying to get over), the start and the end of (Shadow of your smile) or also (There’s something on your mind) Designed to arouse emotion like (Keep on) one of his most popular tracks.

That style wasn’t confined to D-Train of course. The Manhattan Rhythm’s groove and chorus might fit in sideways somewhere. One particular version of (Body Music) by the Strikers, a massive hit in the London Soul Underground, has a nice ending with the synth tailing off into the ether. It’s not the same groove but the same kind of feel done with the synth. It’s probably the last spectacular ending I remember.

More sad post disco melancholy type tracks with a similar emotional feel are; Maxx Trax; (Don’t touch it), Mystic Merlin; (Rock the World) and Ozone; (Strut my thang) Komiko: (Feel alright) and (Hard Times it’s gonna be alright) by Change. I’ve already recommended on the Soulhead tales. Not sure about the drum roll at the end. It sounds a bit like the end of an early 80’s Cameo Track. The new 3 man Cameo sound that is. Not the Cameo of old. Different sound. Something like (She’s strange or Single Life) would have appeared in this particular moment of FUNK history but they could have lifted it from anywhere. (Step out of my dreams) by the Strangers and Midnight express (The Danger zone) two tracks I’ve already recommend will take you back to the era the ending of this track reminds me of.

CARLA

(Synth Pop)

acid jazz

(Credited to)

Jay Kay & Matt Johnson

Just a standard 1980’s Synth pop track. It sounds a bit like the bassline of Denise William’s (lets hear it for the boy). Unlimited Touch (In The Middle) as well comes to mind.  CHIC/Change style vocals in there somewhere again. It’s fairly nondescript and doesn’t go anywhere. It’s what we used to call an album filler. I would say the singing style is George Michael again. “Look what you’ve done” sounds like George Michael.

The mention of Daddy Cool. That was a track by Boney M. There is something vaguely familiar about the guitar licks in the background but it’s only very vague. Similar to Jamiroquai track (Feels so good) maybe, which I see as basically Beverly Johnson’s (Can you feel it). If it’s based on a particular track you might find it on one of George Michael’s albums but that’s just a guess. Obviously there were many doing the same Pop/Funk style during the 80′ like Culture Club. The singing Style on Stillness in Time sounds like Boy George. I don’t know. Can’t place it. Level 42 at the time of (Starchild) or Beggar and co at the time of (Mule Chant2) perhaps. It not their style but it has the same Britfunk type ambiance. Again we can’t rule out that they didn’t plagiarize it from somewhere else.

We Can do it

(Early 1980’s UK commercialised Reggae/Pop)

acid jazz

[James Brown/ The Police/ The Specials/ Fun boy 3/ Blondie]

(Credited to)

Jay Kay & Matt Johnson

This sounds like London and the UK in the very early 1980’s. Maggie Thatchers 3 million. The Specials (Ghost town) and Fun boy three (The lunatics) came into my head straight away. It’s got that “eerie/spooky” keyboard sound of the era. The Funk bassline sounds like James Brown’s (Payback) or Mandrill’s (fat city strut). The Reggae sounds like UB 40 before they became famous with their cover of (Red Wine) Or maybe Sting and the Police at the time of (Walking on the Moon). When I say reggae I mean British commercialised Reggae. Old school Roots Rockers don’t consider this to be true Reggae music. They were as fussy as SOULHEADS when it came to Oldschool vrs the commercialised stuff. However the commercialized sound made Reggae more popular and won it many many fans all over the world.  Blondie’s rap/rapture is in there somewhere think as well. The singing style is really The Wailers style. They were Bob Marley’s girls. I don’t know enough about reggae to say if they invented that style though. There was plenty of it in the Lovers Rock camp. Singers Like Janet Kay for example.

So if we go back to Synkronisd, (Canned heat) is a musical snap shot of 1980/82 George Duke/Imagination/ Brothers Johnson and the last days of the CHIC empire. (Where do we go from here) is also a pastiche of the same time period with Skyy, Tom Browne, The Whispers, Confunkshun, Gwen Mcrae, The Isleys ect all merged into one track. This song sounds like another pastiche of the era. Fans of Reggae, Popsters, Skinheads or kids who were into bands such as Madness & Bad Manners would maybe have bought this one. Soulboys and Girls around this time would have been celebrating Juniors no1 hit in America, listening to D-train and the new E.W.F album (Raise). In London brave Soulheads have would be climbing to the tops of buildings putting up Ariel’s to broadcast the Funk over London Town. Solar Radio, LWR, Invicta and the like are Heroes of the British Soul Movement.So this song belongs in that era. If it’s based on a particular track then I don’t know it. UB40 or Sting and Police maybe. Try the albums of The specials and explore the other bands I have mentioned for more of this early 80’s sound.

Shake it on

(1980’s Synth pop)

acid jazz

[Moroder/Nile Rogers/Beverly Johnson/Herbie Hancock/Yazoo]

(Credited to)

Jay Kay & Matt Johnson

An old school synth sound. It’s the bubbling synth sound of Moroder/Cerrone/Mandre again though it sounds more like the British version of it. (I feel love) by Donna Summer was the first big hit with that sound that I remember but others were doing it in the 70’s as well. (Only you) by Yazoo and (Vienna) by Ultravox spring to mind. Pop band Soft Cell as well. I would say this is based on (Spacer) a famous track Nile Rogers did with Sheila B Devotion but synthesized up.

As the groove heats up the rhythm guitar sounds like Beverly Johnson’s (Can you feel it)….again. There is the groove ambiance of (Twilight Clone) by Herbie Hancock, yet another track that I previously recommended on the SOULHEAD TALES You can tell Kay was Watching. I think there is a lead guitar lick from Herbie in there as well from around the time of (Ready or Not). It might be on that album. It’s the same lick you can hear on Canned heat @ “Hey dj let the music play”, (Drop the Bomb) by Trouble Funk one of my recommendations for the underlying groove on (Hooked up) has it as well. Gayle Adams (Love Fever) is another one. Some of the bassline sounds like the intro to (Go all the way) by The Isley Brothers and an old James Brown song I can’t remember.

Now we switch to Funk and It’s the ever repeating bassline slapped like “Thunder thumbs” Johnson on George Duke’s (Funkin for the thrill), then at the three strikes and the flutter of the violins we’ve got the Brothers Johnson’s intro to (Stomp!). Thats what I can hear and there’s nothing new here at all.

Delegation (In the Night) and (69 Times) By Rick James and Seduction by Rick and Val Young would be a recommendations. Other than that go to my recommendations for Mr Moon for this moody sound.

Nights out in the jungle

(1980’s Commercial Soul/Pop)

acid jazz

[Blondie/Ray Parker junior/Queen/Herbie Hancock]

(Credited to)

Jay Kay

Stevie Wonder’s Part time Lover . Again the bassline is split into two. Again a pastiche of 1979/81. So a Ray Parker Junior/Queen/Herbie song sung in the style of Blondie. Interesting. The first three bars sound like the intro to (You Can’t hurry Love) by The Supremes. (The 60’s Motown era girl band that gave us Diana Ross). The other half of the graft sounds like the second part of Ray Parker Junior’s (You can’t fight what you Feel ) Copied by Queen on (Another one bites the dust), although I think they give credit to Bernard and Nile Roger’s (Good Times) as being their inspiration. We got the old Pint dodgers “chink” “chink” going on in the background again ie Liston Smith’s ever re-appearing (Expansions groove). They have used that groove over and over again.

That’s the “Ding dong” and sound of Blondie (Rapture and Heart of glass) or perhaps Brian Ferry’s (Love is a drug) going on in the background. Ultimately CHIC on (I want your love).
There’s something from FUNK band Pleasure in there somewhere in there as the horns start to rise (Cant turn you loose) maybe. Pleasure are never far from jmq track…

…now there’s an immediately recognizable synth rift from the 1970’s TV program Ironside by Quincy Jones Or (Lucky fellow) by Leroy Hutson…. The song gets darker. There’s something of the (Sexy MF) groove by Prince or maybe (Dancing now) by The Bee Gees..
…..Now we are outside in the night and the title of the song begins to makes sense. That’s the Pan pipes from Herbie Hancock’s (Watermelon man). It makes sense to me at least because songs like this,(Razzia) by Patrice Rushen, (Ife) by Miles Davis and (Hornets) by Herbie Hancock were in the 1970’s often interpreted as the jungle at night.

It’s similar to how the Latin sound of the mid 70’s like Deodato’s Superstrut and especially Stevie Wonders Latin stuff was always played when images of Brazil flashed up on Telly. The Herb Albert sound was associated with UK TV game shows, like It’s a knockout, The Manhattan Skyline with the sound of David Shire or the 1970’s Car chase “Blaxploitation” type movies with early 1970’s Jazzfunk. Tracks like Shaft. As I think I mentioned elsewhere there is a whole lot of great 1970’s Orchestral instrumentals which featured in films and in TV shows of the era. There’s lots of stuff along the lines of MFSB/Salsoul/Barry White etc. Do some exploration on afternoon and you will uncover many gems.

So,In conclusion, The Pan pipes and the Intro to Herbies (Watermelon man),  Patrice Rushen‘s (Razzia), The Jungle at night another musical pastiche. Blondie and Queen (Another one bites the dust) or Ray Parker Junior (You can’t fight what you feel) ending in the experimental Jazzfunk of the early 1970’s. The same thought process/template as used on previous album tracks I mentioned like Hooked up and Planet home and indeed the bulk of “Jamiroquai” Soul tracks throughout the years. Find something, find something else, find a common denominator if possible, then merge them all together adding a few “bells and whistles” or using different production values. Then tell everyone we wrote it and it’s acid jazz!

Summer Girl

acid jazz

(1980’s commercialized Soul)
(Credited to)

Jay Kay & Matt Johnson

The bassline sounds like Harvey Mason (Groovin’ you) from the late 1970’s. The sound ambiance though is that of the 1980’s. This sounds British again. The singing style takes me back to Brit Funk band Mirage and (Summer Groove). This track is more like the darker side of Brit Funk. Atmosfear, Freeeze, Shakatak and early Incognito The type of stuff I have already recommended for (Mr Moon). The dark Brit Funk Bass pick ‘n slap groove like Atmosfear‘s (Xtra Special) or Level 42 (Sandstorm). I say British ultimately all funk is American this is just our take on it. They lead the way we followed regardless of what the likes of Eddie Pillar and Giles Peterson try and tell you.

The groove changes… now we’re in the1970’s…there’s a bit of what sounds like that transcendental bridge and link to the second half of Herbie’s (Hang up your Hang ups). The part where the clavinet ends and we go off flying like the second half of (Brazilian Love Affair) by George Duke.

You can hear the same groove right at the beginning of Cameo’s nod to EWF (Sound Table) which I previously recommended for fans of (Stillness in time). The congas at the start of summer girl are more or less the same so I would say Cameo play a part in the track. The strings sound like the end of (I want your love) CHIC but just for an instant. Overall this is the sound of the mid1980’s and once again the singing style here sounds like George Michael especially the Female vocals.

Lyrics? Rick James (Money Talks)…..“She works the Corner”…

Superfresh

acid jazz

(Early 80’s synth pop)

(Credited to)

Jay Kay & Matt Johnson

Unknown, The tone is once again is familiar and I recognize the singing style. The rest of It sounds like something out of the mid to late 1970’s. The track might be aimed at the Daft punk crowd but this sound was around over a decade before they arrived. The Voice box was around in the 1970’s. Stevie Wonder, Mandre, The Isley Brothers, Cerrone, Moroder, Jarre, Zapp and the rest. Electro is late 70’s and early 80’s. Stevie Wonder was the first man with the Vocoder in the 1970’s. Not Daft Punk in the 90’s. The chorus has the classic Electro disco sound a bit like 202 machine’s. (Get up rock your body). I don’t know enough about this sound to say who it’s specifically based on if anyone. I do however know what this sound is and it can be correctly classified as Funk and Synth Pop.

Hot property

acid jazz

(1980’s Funk/Synth pop)

(Credited to)

Jay Kay & Matt Johnson

This sounds a bit like part of the intro to (Music in the streets) by Unlimited Touch looped. And yes it’s yet another one of my recommendations on the Soulhead Tales for (You give me something). Also In the mid 80’s there was a FUNK band who’s name escapes me right now. They were on UK Soul Train or Solid Soul. They did a groove with a Cameo style chorus which has a similar bassline. The Keyboard’s sound like (Don’t you want me baby) by the Human league. They were a UK Synth Pop /Funk band. They were also known in the US and were produced at some stage by Jam and Lewis. You can hear the famous Jam and Lewis drumbeat on their tribute to the Minneapolis sound (Prince, Morris and the crowd as well as Jam and Lewis) on a track of the same name. (I’m only Human) is another great Jam and Lewis penned track…..now the wowowowow” sounds like the intro to one version of Heatwave’s (Groove Line) but there’s lots of that sound all over the 70’s. The groove switches to Prince and the second half of (Batdance.) Bee Gees (You should be dancing now) is similar. Yes all three were previous recommendations on the list!

Now I can hear Africa Bambaata and the Soul Sonic Force’s (Planet Rock) keyboards somewhere in there. There is something of (Don’t stop the love) by Booker T in the groove as well. The bit that sounds like “Tell me why do you do it to me” on Main Vein. There’s some foreign language in there which sounds eastern European or Russian. Kleeer sang in German on (Taste the music). We were used to European sounding accents in the 70’s because of Euro disco and bands like Abba. There’s more in there that I recognize but can’t place. It has a sort of a British feel to it. I think I have heard this groove before though and the lyrics were something to do with a detective or the track had detective in it’s title. It had a woman on the cover of the album. I think thats where the voice comes from. But I can’t remember the tracks name. Ask Jay Kay where he stole it from.

Cloud 9

acid jazz

(Early 1980’s Commercialized Synth pop/Funk)
(Credited to)

Jay Kay & Matt Johnson

So we’ve got the Gap Band (Burning rubber intro…… again). The next part is a synth pop sound similar again to (Only you) by Yazoo or Laurie Anderson’s (Oh Superman) which I recommended for (Runaway) fans is also along the same lines. Its on other synth pop tracks as well. Maybe check Yazoo’s albums.

I absolutely remember that synth bass and those sultry keyboards from somewhere in the 80’s. I know this groove. I think it was a Funk track possibly an instrumental. It was song which sounded a bit similar to (I’ll be a freak for you) by Royalle Delight a major hit in the UK Underground. Johnny Rocca’s (Melodies of Love) is similar. Johnny came from Freeeze who laid down some of the nastiest Bass-slap grooves in the true Brit Funk period (1975-1982) The chorus is synth pop and sounds a bit like George Michael or Elton John but I don’t recognise it. Nick Kershaw, Howard Jones, Fun boy 3 or someone like that may provide some answers. (Steppin Out) by Joe Jackson isn’t the same groove but had a similar warm fuzzy feeling to it. You would have heard this on Radio 1 but not on a Soul station at least not in the UK.

So there you go THAT CONCLUDES AUTOMATON.MORE COMING……

PLAGIARISM ON A FUNK ODYSSEY

(Released 2001)

1. THE FALSE RE-CLASSIFICATION OF BLACK MUSIC ON 2001 A FUNK ODYSSEY
2. THE CORRECT CLASSIFICATIONS FOR THE MUSIC ON 2001 A FUNK ODYSSEY
3. WRITING CREDITS- THE SONGS JAMIROQUAI CLAIM CREDIT FOR ON 2001 A FUNK ODYSSEY
4. 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 20^th 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 20^th 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 21^st 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.

-‘-

[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

-‘-

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)

-‘-

[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.

-‘-

[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)
-‘-

[Intro]

Patrice Rushen; Number one [Intro only]

Patrice Rushen; Forget me nots [Handclaps]
-‘-

[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]

-‘-

[Aspects of the synth]

The Dazz Band; Let it all Blow

Superior Movement; Wide Shot

-‘-

(Rod Temperton) Heatwave; The groove line

[Brit Funk]-The Real Thing; Can you feel the force

Kool and the Gang; Night People

-‘-

Donna Summer; Hot Stuff-Bad Girls Medley

[The Disco “Thud” or The “kick Smack” Drum beat as the two tracks changeover]

-‘-
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)

-‘-

[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

-‘-

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

-‘-

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

-‘-

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)
-‘-

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
-‘-

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)

-‘-

[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

7^th 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

-‘-

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.

CLICK HERE FOR DYNAMITE

SIMPHONISED “UNRELEASED” ALBUM

Before we go onto SYNKRONISED lets take a quick look at Simphonised. Apparently this is an unreleased album. I very much doubt it. They don’t have the abiltity to create enough content to leave some of it unreleased, plagiarised as their songs had been up to this point , and beyond it as you will see later. They released tiny snippets of these songs on youtube lasting only a few seconds each so they are not enough for me to make a proper judgment on the tracks and tell you where I think they lifted them from. Anyhow this is what I can hear after a few listens and I have given reccomendations where possible. There were five snippets…..

Track 1

Track one sounds like Michael MC Donald’s (keep forgetting) slightly re-arranged. This groove appears on the Automaton album which I have also reviewed so they decided to go back to it. There is something of Level 42 maybe in the keyboard sound. Early Level 42 that is back when they were an underground Brit Funk band known only to us Soulheads.The Ketboards sound like a Roy Ayers track I can’t remember. They are a bit similar to Total Contrast on Takes a Little Time.

Total Contrast: Takes a Little time.

Track 2

On this track the guitar sounds a bit like Prince. It sounds like theres a tiny snippet of Frantique’s (Strut Your Funky Stuff). Pretty indescript, not enough to make a comment on. There maybe some elements of Jam & Lewis /Janet Jackson in the 80’s.

Imagination; Shoobedoohahdabba doobee

Track 3

The Vocalisations sound a bit like Earth Wind and Fire at the start of (Getaway) or perhaps more like Wood Brass and Steel’s version of (Always There). This immediately transports me back to 1980/82. It’s vaguely familiar but I can’t place it. If it’s based on a particular track then I don’t remember it. Its the kind of thing Brit Funk bands like Atmosfear, Direct Drive, Shakatak or early Incognito would have done. It’s the the dark moody sound those of us who were there remember at the end of the disco period, late 70’s into the early 80’s. Roy Ayers (Don’t Stop the Feeling) and the earlier 70’s sound like (Coffee is the colour) spring to mind.. So does Patti Labelle’s on (music is my way of life). The electro sound of Imagination again (This means War) or (In a state of Love) might be of interest. Mr moon recommendations apply to this track as it belongs in the same time frame.

Vocalisations

Earth Wind and Fire (Getaway)

Wood Brass and Steel (Always There).

Carrie Lucas: Dance With you

Shakatak; Down on the street

Imagination; (In a state of Love & This means War)

Patti Labelle’s; (music is my way of life)

The Brothers Johnson; I came here to party

Mr Moon reccomendations apply CLICK BELOW

The Return Of The Space Cowboy

 Track 4

Recommendations

Patti Labelle: Music Is my way of life

Nile Rogers/ Sheila B Devotion; Spacer

Norma Jean (From CHIC); Saturday

Roy Ayres; Golden Rod & I wanna feel it

Rick James; 69 Times

Delegation; In the Night

Track 5

A South America (So called “Latin”) track. Herbie Hancock from his days with the Head Hunters and God Make me Funky. Go back to the early 1970’s, back to the World sound I spoke about on my Emergency on Planet Earth review.

Roy Ayres; Rhythms of your mind

Azymuth; Partido alto

Loose Ends; A little Spice

So theres nothing really here to write home about with these snippets. More of the same, clips of other peoles music and styles. They claim this is an unreleased album but it sounds like cast offs from Synkronised as they have the same post Disco era sound. So lets go onto SYKRONISED.

SYNKRONISED

(ACCORDING TO JAMIROQUAI ON WIKIPEDIA)

Lets see what they have written on Wikipedia and as you would expect they don’t know enough about Black Msic of the 20th Century to correctly classify this Album. Again they (The Synagouge of Satan) claim they are a Funk and an Acid Jazz band. “Acid Jazz” being the non existent music genre that Eddie Pillar, Gilles Peterson and the Synagogue of Satan claim came out of London in the mid 1980’s. That’s because they think that serpent smoke and mirrors work in music and that they have the ability fto fool peole on the different sounds of Black Music! There is no such genre as Acid jazz which is why they cannot name a single so called “acid jazz” track. They can’t show you an “acid jazz” track anywhere because there isn’t one.

TELL A LIE AND KEEP REPEATING THS SAME THING UNTIL PEOPLE BELIEVE IT

When you want to steal something the first thing you do is give it a new name. Acid Jazz and Club Jazz are both names dreamed up by The Synagouge of Satan to try and culturallally appopriate 20th Century Jazz, Funk and Soul. There is No such thing as a music genre called acid Jazz or Club Jazz in Black Music. At no time and at no stage was there a Black music genre, subgenre or style of FUNK called Acid jazz or Club Jazz created here in 1980’s ln London regardless of what Infiltrators of Black Music Gilles Peterson, Eddie Pillar and their SATANIC Global disinformation cabal have written on wikipedia and all across the net.

That this so called Genre, they claim came out of London in the 1980’s doesn’t exist is also why there is no record of this fake genre being created in any Black music publication of the 1980’s such a Blues and Soul, Black Echoes, Jet, Ebony etc and there is no mention of any so called “acid jazz” genre in any club report, album or single review or on any Black music T. V show such as American or British Soul train Acid Jazz is a serpent myth.

As ever you can debunk this Serpent Lie in Ten Easy Ways To Debunk The Acid Jazz Lie. And future historians always remember this, that the only people who claim that Acid Jazz and Club Jazz are Black Music genres are Eddie Pillar, Gilles Peterson and their International cabal of Disinfo agents.

Ten Easy Ways To Debunk The Acid Jazz Cultural Appropriation Lie

Fancy a laugh. Right, lets move onto Synkronised and their attempts to describe the FUNK on this album.

So they (Gilles Peterson/Eddie Pillar and co, claim that Synkronised contains..

“FUNK, Rock and Acid Jazz”…….REALLY?

No it does not. There is no “acid jazz” on this album as there is no such thing as a Black music genre called acid jazz. And FTI there is no Rock on this album either. The Isley Brothers guitar-synth solo on (Deeper Underground) does not constitute a Rock track! They obviously don’t know what FUNK is so how would you expect them to know what Rock sounds like? It is a straight FUNK track based off of Stevie Wonder, The Jackson Five and the Isley Brothers. FUNK tracks had guitar solos on them all through the 1970’s and the 1980’s. It was part of the groove. Off the top pf my head (Takes a little time) by Total Contrast has a guitar solo, so does (17) by Rick James, so does (Plaything) by Linx, so does (Love Struck) by Jesse Johnson. Those are all FUNK tracks. They are not ROCK tracks because they have a guitar solo in them. I mean these are the people who think they can fool us on Music! The fact that a track has a guitar solo in it does not mean that it is a Rock Track.

Shalamars (My Girl Loves Me) fuses Rock with FUNK. Earth Wind and Fire’s (Changing Times) can be considered to contain an element of Rock though it’s still basically a Funk track. Now (Beat It) by Micheal Jackson is essentially a Rock track and was aimed at the masses. That is what a track led by a Rock guitar sounded like. However if Van Halen’s guitar solo on that track had appeard on a FUNK track then the track would still be a FUNK track. (Back and Forth) by CAMEO for example is a Funk track even though it has a guitar solo in the 12 inch version. That is because as I said FUNK tracks had guitar, as well as synth, trumpet and saxophone solos on them. In order to know which is which or what is what you have to know the difference between Rock and Funk to begin with. And as you can tell this cultural appropriation team don’t really know anything about The FUNK, ROCK or any style of Black music. If you don;t know the diffence between two difference between to completely different genres then how are you going to Fool peple on the various styles and sounds of THE FUNK as these peole think they are able to do! Anyhow the writing credits for this album are as follows.

So Jay Kay and Toby Smith claim credit for all the sounds on Synkronised. They have kindly let Derrick McKenzie take co-credit for an Instrumental which sounds like MAZE. So as we know the dimunative consummate plagiarist Jay Kay claims that he didn’t use any outside influences on this album. Well Synkronised is the easiest album for me to pick apart. So below is my response.

There is not one thing we have taken on that Album (SYNKRONISED) we don’t do that

Jay Kay

A Response by Quotes (Lies) To Jay Kay……

Really? So um, how many seconds do you think it took me to hear the sounds of CHIC!, George Duke, and Imagination In the Intro of (Canned Heat)?…..How many seconds do you think it took me to hear The Barkays and Rick James on (Planet Home)?….,How long do you think it took me to hear Donald Black Byrd on (Black Capricorn Day)?…..How many seconds do you think it took me to hear Roy Ayers on (Supersonic)?,……How long do you think it took me to hear Tom Browne, New York Skyy and The Isley Brothers on (Where do we go from here)? How long do you think it took me to hear Isaac Hayes and Ned Doheny on (Soul Education)?,How many seconds to you think it took me to hear Stevie Wonder on (King for a day)? How long do you think it took me to hear the Rah Band on (Butterfly)?How long do you think it took me to hear The Isley Brothers and the Jackson Five on (Deeper underground)?

I was there . You own nothing on that Album other than your voice. Withdraw your lies serpent.

KWABENA NKWATIA -Authorof the Soulhead Tales and Ten Easy Ways To Debunk The Acid Jazz Cultural Appropriation Lie.

Synkronised released 1999 is the sound of 1980/81 about twenty years later.

When I first heard this album I it sounded lke the greatest hits of the golden era.1975-1981. Black Capricorn day and King for the Day belonging to the old mid 70’s style of Funk and the rest pushing into the post Disco era. Its another album of musical snapshots regardless of what Jay Kay claims because he thought no one would recognise all these sounds. This is proof that he’s really knows nothing about Black Music and was parachuted in to perform a task. If he thinks that we don’t know who Rick James and Skyy are or George Duke is or if he thinks that nobody knows Earth Wind and Fire albums then he should really have kept quiet. He is not an authentic Soulhead.

So anyhow SYNKRONISED released 1999 is a post disco era Album (1980-83). As I keep saying this was a brilliant time for music. There was so much music around we literally didn’t know what to do or where to turn. There were new bands appearing everywhere. The music of this era was stunning. 1979 into 1980 was the best year we ever experienced but as we progressed into 1980/81 the sound got even more exiting with the electrophonic sound added into the mix. These are the last days of the Orchestral Disco era sound. The post Disco era is the perfect balance between what we call “Live music” (Music with traditional instruments) and the synthesized keyboard sound.

An album like Light up the Night by The Brothers Johnson which was in this era is a good example of what I’m talking about. Where you had a disco era track like (Stomp) and an electrified tracks like (This Had to be)and (You make me wanna wiggle). Another example is the (lets get serious) album by Jermaine Jackson and Stevie where you had traditional Disco era type tracks like (Feeling free) and synthesized track like (Burning Hot). There was a whole load of trial and error going on, some bands were hitting and some were missing. These are the last days of the Disco sound and of Jazz funk. I was there on the dance floor, I recognise all the sounds on this album and I offer you tons of recommendations so feel the FUNK.

(Released 1999)

acid jazz

SOUL /R&B

CANNED HEAT

acid jazz

There is no such thing as a Black Music genre called acid jazz or club jazz

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

The intro

Canned Heat is the classic Post Disco sound, a track which you would have heard between late 1979 and say 1982. Its a pastiche and contains a lot of elements that I remember so lets go through it second by second bit by bit……

The intro sounds like it’s copied from the Intro of (Living Without you) by Pleasure. Or Roy Ayres /Ethel Beattys (I know you care) which came years later.  The intro of Johnny “Hammond” Smith’s (Ghetto Samba.) has a similar warm feel to it…..the synth keyboard tails off. That sound is familiar from somewhere in the Quincy Jones discography at the time he was working with Patti Austin, James Ingram, Bros Johnson, Temperton/MJ and the crowd who created (Off The Wall) and (Light up the night)………..

….We’re off into a gallop which sounds like Earth Wind and Fires’s (Rock that)…… The strings of CHIC’s (Open up) begin……..“You know this boogie is for real”, which recalls George Duke’s (I’m for real)…………Then all of a sudden were in the U.K, a strike of the Violins which macthes Lee Johns pitch with Imagination’s signature Rhythm guitar/Keyboard riff from (Flashback) slightly altered……The groove now jumps all over the place like CHIC’s (Open up) or (Contact Funk) by Hammond Smith from earlier on in the 70’s…..There is an element of Evelyn “Champagne” King’s (Shame) the basis for (Little L), in the groove somewhere.“…..Then it’s….. “Down Down Down Down Dance!” (George Duke or Rose Royce).

A familiar Bassline starts up, at the back of that I can hear the guitar plucks from (We got the Funk) by Positive Force. Originally Rose Royce on (Car Wash) from earlier on in the 1970’s. It all sounds a bit like the intro to (Starlight) by Starpoint in the way the groove cuts back across itself. That probably doesn’t make sense, but listen to the two intro’s back to back. The way the first word on each track are sung “Starlight” and “Dance”. I suppose you could say the groove goes where you don’t expect it to rather like the intro to Tom Brownes (Come for a ride) or the Chorus of Stevies (For once in my life) I speak about on Emergency on Planet Earth…….We settle into the track go into a familiar Disco post/ Disco groove and Bassline.

The song has the Ambience of (Shine on) by George Duke but also follows the pattern of earlier grooves like LTD’s (Holding on) and Positive Force (We got the Funk). It has the feel of The Brothers Jonson’s (The Real thing) as well. I actually felt Canned Heat was a soft version of a Brothers Johnson track on the first few plays but without Louis Johnson thundering all over the groove obviously. In the background I can hear the Keyboard of (Big Fun) by Kool and The Gang. Another massive Post Disco era track in the charts at the same time. The Bass sounds like it’s played in the style of Imagination and sounds like Ashley’s fret-less bass. The fret-less bass was much underused in Funk in my opinion. it was kind of niche and used mostly in Jazz, it would have fitted in nicely during the slowed down Two step period of the mid 80’s. Jaco Pastorius was probably the most well known fret less Bass player back in the 70’s and I remember there was a synth pop track called (Tear your Playhouse down) by Paul Young back in the 80’s….. 

…..back to canned heat and overlaying the bass the CHIC! style violins come in a one point @ “I don’t know what to do” which sound like those towards the end of (You can get by) CHIC!…. Its a bit similar to the violin intro of STOMP! by The Brothers Johnson…..The ultimate track in this style of Funk…. Then we hear a bit more of E.W.F’s “Galloping groove” from (Rock that) again…. There is an element of Patrice Rushen’s (Look up) when the chords raise, complete with the brakes. (She got there before Kool and the Gang on that style I think) Think (Get Down on it) K &TG. Jamiroquai also copied it on Emergency on Planet Earth….The “Ahhhh” sounds like George Duke again on (Brazilian Love affair) or the Brothers Johnson remix of (The Real Thing) I think…. at the ending……“Hey DJ let the music play” is from the Dazz Band’s (let the music play) I would say but there are other tracks with those lyrics. There is a slight hint of the Whispers & Kano as I hear it. At the end the chords raise into Barry White’s famous intro and probably the first Disco Track (Loves Theme).

So to recap, this is a familiar groove, the sound of 1980/1981/1982. The last days of Disco era Funk. Another pastiche. George Duke, Imagination, The Brothers Johnson, CHIC etc. The very end of the disco era. All that’s missing is Michael Jackson on vocals and Louis “Thunderthumbs” Johnson on bass. So canned heat mimics a particular violin sound of the post Disco era when CHIC! reigned supremeElectrofunk is just around the corner. D Trains (Your the one for me), Dancefloor by Zapp, The Message by Grand Master Flash and the Furious Five would soon be entering the charts at this time.

As promised here are tons of recommendations below.

Canned Heat

acid jazz

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

-‘-

(George Duke/ CHIC/ Imagination/ Positive Force/ Delegation/ The Whispers/ Barry White)

Credited to

Jay Kay

George Duke featuring Louis “Thunder thumbs” Johnson;
Shine on (Live)

(Shibuya Public Hall Tokyo 1983)
-‘-

[Intro]

Pleasure; Living without you-[Intro only]

Johnny “Hammond” Smith; Ghetto Samba-[Intro only]

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

Johnny “Hammond” Smith; Contact Funk-[The unpredictable intro]

-‘-

CHIC; Open up-[The Violins]

[Brit Funk]-Imagination; Flashback & Just an illusion-[Lead Guitar/Keyboard]

[Brit Funk]–Imagination; State of love

George Duke; Funkin’ for the thrill (I’m for real)-[Come on and boogie-Down down Yeah.!]

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[“Dance!”]

George Duke; Reach for It & Son of Reach for it

Earth Wind and Fire (featuring The Emotions); Boogie Wonderland

[Brit Funk]-Hot Chocolate; Mindless Boogie

B.T. Express; Give up the funk (Let’s dance)

Kool and the Gang; Love Festival
-‘-

[The Groove]

Positive Force; We got the Funk

LTD; Holding on (When love is gone)

[Brit Funk]-Delegation; Heartache No 9 (Special Remix Version 1980)-(Extra violins!)

The Brothers Johnson; The Real Thing & Dancin’ Free

Jermaine Jackson; Feeling Free

-‘-

Earth Wind and fire; Rock it

Rose Royce; Car wash [Guitar Plucks]

CHIC; You can get by-[Strings @ “..baby that’s nothing new”]
-‘-

Kool and the Gang; Big Fun [Underlying keyboard’s]

Patrice Rushen; Haven’t you heard

Patrice Rushen; Look up [The raise in chords in the 2nd verse @ “You Know this boogie…”]

-‘-

[@ Hey dj let the music play]

Con Funk Shun; Sun Touch

T-Connection; Saturday night (Long version)-[Bassline towards the end]

The Dazz Band; Let the music play-[Lyrics“Hey dj let the music play”]

Gayle Adams; Love Fever-[The rhythm guitar]

-‘-

George Duke; Brazilian love affair-[Elements of the groove @ “live this party life”]

Kano; I’m ready-[Elements of the bassline @ “live this party life”]

The Whispers; And the beat goes on -[Elements of the groove @ 2.39.. “The beat goes on..”]

-‘-

[The Ending]

[The raise in chords of the violins]

Barry White: Loves Theme [Intro only]

*CHIC; M.M.F.T.C.F. [Ending violins only]

*Get the right version of M.M.F.T.C.F. One version I heard doesn’t have the violin ending.

[That sound at the end Disco era ]

. Never let anyone tell you that these sounds have anything to do with Acid Jazz record Lable and the Synagouge of Satan. They are responsible for nothing and have no claim on any Black sound at any stage if of the era.

Come the late 1970’s CHIC polish the Barry White/Gamble and Huff sound into some of the most stunning strings we had ever heard. The sound was and still is magical…

CHIC; Good Times, Freak out! & Chip off the old block

(The CHIC Organisation) Diana Ross; Upside Down, Give up your love & Tenderness

(The CHIC Organisation) Sister Sledge; We are family, How To Love & You fooled around

Carly Simon; Why

(Narada (Pronounced “Narda”) Michael Walden)

Narada worked with Sister Sledge after they left THE CHIC Organisation.

Stacy Lattisaw: Jump to the beat

Sister Sledge: All American girls

Narada Michael Walden; Tonite I’m Alright

George Duke; Funkin’ for the thrill, (I am for real) lyrics “You know this boogie is for real”

Deodato; Night Cruiser (The 70’s London Soulhead Anthem at the Goldmine Club)

Reccomendations

The Commodores; Lady you bring me up when I’m down

Rapheal Cameron; All that’s good to me

Starpoint: Starlight your night

The Invisible Mans Band; All night thing

Kool and the Gang; Take it to the top

Deodato; Whistle Bump

Atlantis; Keep on movin’ and groovin’

Dynasty; Adventures in the land of music

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Herbie Hancock: Getting to the good part (Wait till the chorus)

Herbie Hancock: Motormouth

Recommended Albums

[Michael Jackson; Off The Wall Album]

[Earth Wind and Fire; I AM & Faces Albums]

[The Brothers Johnson; Light Up The Night Album]

[The Jacksons; Victory Album]

And of course George Duke!

Brazilian Love Affair, Follow the Rainbow Albums you name them.

-‘-

INTERLUDE

THE “CHIC” Effect in the late Disco era and what came next.

I have seen so much absolute rubbish written by people who weren’t even alive in the Disco era (As eveidenced by Gilles Petersons mob on wikipedia) that I thought I would write this little piece on FUNK music in the late 70’s early 1980’s. Barry White, The Salsoul Orchestra, Gambel and Huff etc begin the Violin sound of the 1970’s and the sound that people referred to as Disco.  Regardless of what outsiders and history revisionists in the mainstream so called music press will claim or on discredited places like Wikipedia, Everipedia and anywhere else.

What people refer to as The Disco era sound is the next stage in Black music after the old skool James Brown/Parliament style FUNK and JAZZ-FUNK of the early 1970’s which followed on from the MOTOWN sound. You could call the early 1970’s The Post Motown era as although the MOTOWN acts were still around the sound was changing. Jazz and Funk and Soul was beginning to fuse together, The World sound incorporating all styles of music into the FUNK was beginning, People were fusing James Brown with Rock, Latin, The Afrobeat and so on. The post MOTOWN era of the early 1970’s was also very exiting. You never knew what you would hear next.

The post Disco era 10 years later was equally exiting. As I said before.This time you were waiting to hear how your favourite band would incorporate the new Electroponic Phunk synth sound into their groove.  The Disco sound itself goes back to Gambel and Huff and the post MOTOWN sound of the very late 1960’s. It should be noted that Barry White composed Loves theme in 1964, years before it was released in the esarly 1970’s. Disco was not invented by the mainstream Pop bands who jumped on the Soul bandwagon in the late 70’s nor by the Gay Community who adopted the sound as their own. Disco was mostly Pop music that mimicked the Black sound of the era.  And the Orchestra of Barry White was Key in the development of the Disco sound which came towards the end of the decade. So the likes of Gambel and Huff  Barry White,  T.S.O.P (The Philly sound) are responsible for what people term the Disco sound. Regardless of what outsiders or people who weren’t even there write in the mainstream media.  Why is it called Disco? Well A discotheque was just another name for a night club. So you went to the Disco to Dance and Feel the FUNK. In the 80’s people went back to calling nightspots clubs but to this day if you see a “Disco Night” advertised then you know your going to hear the sound of the 1970’s.

It’s FUNK not Disco

During the era and even today the mainstream media call/called late 70’s Funk/R&B from bands like Earth Wind and Fire, CHIC or Kool and the Gang Disco-music. IT IS NOT. And we never called it that. We continued to call it FUNK. Disco to us was Pop music. Disco was stuff like Boney M. The disco era as we now call it goes from about 1975/76 up to 1980. So Disco-era Funk is what Soul/R&B sounded like in that particular time period. Disco is the pop music of the era which mimicked the sound. And it should be remembered that the mainstream hated the sophistication of this sound. That was the reason for the Jealous ‘Disco sucks’ campaign in the STATES. The beautiful orchestral sound, the sweet harmonies and the transcendental Jazz Funk grooves which epitomized the Disco era “sucked” according to them. Yet the badly produced , screeching rock guitar with so called singers screaming at the top of their voices somehow didn’t. Compare the 1960’s/70’s SOUL singers to their Rock equivelent’s.

Jealousy.You suck, Not Disco

Sometimes they would try to denigrate the sound as just “Dance Music”. The sophistication of bands like Earth Wind and Fire, or Musical geniuses like Quincy and the Brothers Johnson or the Jacksons appeared lost on them. Plus they hated seeing Black, White and Brown people all dancing together. This was a threat to the establishment.  Their goal has always been to divide people. I recall Flavour Flave of Public Enemy years later in the late 1980’s commenting at how the establishment hated the fact that Black and White kids were jamming together to Rap. Anything that brings the Human race together in harmony is frowned upon by the Establishment. That is the opposite of what they want. Do you think that the multitude of  1970’s Disco era FUNK bands in the recommendations I have given you from the era suck? Or do you think they are works of genius and the sweetest grooves you have ever heard in your life.  Compare it to the music that these people were listening to. Tellingly by the mid 1980’s despite desperate efforts to prevent it, SOUL/R&B had become the most popular style of music. So much so that some people think it’s called Pop.

No Disco sucks did NOT kill Disco

I wasn’t really going to delve much into it as these people who had their 15 minuets of fame are irrelevant. However let me set the facts straight on a few things. The Disco sucks campaign took place in the States during the era. Apparently an American Rock DJ was kicked out of a radio station from his job. And so decided to burn SOUL records in a stadium. I understand that The Bee Gees claimed the Disco sucks campaign ruined their career as it lead to the death of Disco. Well It did not.And the percon behind the Disco sucks campaign is not relevant and didn’t change anything.

Now when you actually know and understand the progression of Black music the 1960’s, 1970’s, 1980’s and even 1990’s you will know that the sound changed every Five/Six years. At the turn of each the Decades, 60’s/70’s/80’s the sound changed. Then midway through the decade the sound changed again.  The sound at the beginning of the decade was never the same as that at the end of the decade! You had to had been there paying attention and as you can tell I was.

The Post Disco era and beyond

Disco era FUNK had run it’s course and the sound was already changing as we neared the end of the 1970’s. More and more synth was beginning to appear on Soul tracks. (Do what you wanna do) T- Connection, Heatwave’s (The Groove Line), (Can you feel the force) by The Real Thing are some stand out tracks from the time period 1977/78 The electrified FUNK sound was already starting to creep in. Tracks like this had big impacts on the Dancefloor. They sounded so different and futuristic. Lets not forget the film Star Wars was the talk of the Planet at the time. And all during the 1970’s when the space walks were taking place, whenever you heard the synth you always associated it with the future or with space flight. Bakc then the future was bright.

Its important to remember that at the time no one thought, oh we’re going into the Electro funk era. It was a slow progression. We just noticed that the sound was changing. Things were starting to sound slicker and tighter. So at the hight of the Disco era 1979 you will find a whole load of different sounds. Old school Funk, Jazz Funk, Electro-Disco, Euro Disco (French and Italian),GoGo,You name it. There was literally an avelanche of music. What made it even more special was that despite the emergence of so may new bands we recognised many of the names of these acts who had been around since we were small kid. The Isley Brothers, Diana Ross, Aretha Franlin and so on were superstars of our parents generation of the 50’s/60’s. Yet here we were dancing in the Disco to their updated sounds of the Disco era. It seemed strange, yet kind of cool to be dancing to the same people who entertained your parents in some cases befor we were even born. Many didn’t know Jazz Funkateers Like George Benson, Roy Ayers, George Duke or Patrice Rushen until the Disco era where their talent and years of hard work in the underground Jazz funk communitypaid off malking them superstars.1980 going into 1981 was a fantastic year for the FUNK. And as I say elsewhere the Post Disco era contains some of the finest sounds you will ever hear. It was trial and error time again just like it was back in the early 1970’s. Those type of musical environments seem to produce the best music as people become more and more innovative trying to find what will work.

The Funk takes a breather around 1983 going into 1984 when people like start to slow down the Groove and we had a whole lot of Two Step (Slower Funk). Not to say there wasn’t any faster stuff around but generally the sound was slower on average and people were releasing calmer mid tempo (Two Step) tracks as singles. Grooves like (Weekend Girl) and (No ones gonna Love you) are famous tracks from that time period.Contrast this groove to the hell for leather early 1980’s Electrophonic Phunk sounds. The S.O.S Band had a bit to do with it at least in London. Their sound was everywhere and as you can tell it inspired Loose Ends to their major hit Hanging on a string. That Drumbeat changed the sound and many copired it. Around the same time CAMEO, hard funking Bass slapping CAMEO of all people released a slow track called She strange. Hardly what one used to expect from these viscious Harcore Bass freaks. But it worked. It worked big. So for a short period the Funk slowed down 84/85. It felt like being in the mid 1970’s again, ten years previous when the Funk was generally slower until it started to speed up as we approached the Disco era around late 1976 into1977. There is some pretty nice stuff around this period if you like the slower Groove. The sound is not really the same as the 1970’s as much of it is hidden under the 1980’s drum machine. You don’t really get the Phcyadelic feel as you did in the 70’s but Roy Ayers does a pretty good job of preserving his sound then again he was an old hat when it came to the synth. I give many reccomendations in my Space Cowboy Review.

So in the 1980’s there were THREE distinctive sounds. The post Disco era (80-83) with the remenants of the Disco era Orchestra was gradually replaced by the synth.The slowed down Two Step period from around late 83 into 84/85 by which time the Funk was almost entirely electrified, then it’s all change again as around 1987/88 The New Jack Swing crowd (The younger Brothers and Sisters of us 70’s Disco kids) changed the groove. From here on in the sound starts to get more and more watered down. There is a whole load of sampling and we older funksters recognise much of what we hear from our youth. The Sampler had a major impact. People seemed to get more and more lazy if you like. They were not writing their own stuff but sampling bassline, drumbeats and so on, then adding lyrics to them or rapping over them. For me this is the end of FUNK as we knew it in the 70’s/80’s. Not to say there was not some fantastic music aroound. But the old days had most definately gone. There was nothing new or innovative created in the FUNK after this time period. Other than the digital genres like Jungle/D&B and later Dubstep. Jazz funk of course came back in the early 1990’s but we had heard it all before as you can tell by THE SOULHEAD TALES. So anyone who claims there was anything new or unique in the 1990’s in terms of FUNK was not around in the 1970’s and the 1980’s. Now as to why the sound changed every 5/6 years?, Well I suppose School takes around 7 years to complete, so every group of School leavers changes the sound to their liking. Or at least demands a sound change. And of course many of the older kids generally hate it. The older 1960’s kids didn’t like our late 1970’s Disco era Funk, some of us didn’t like Electro and or New Jack Swing of the 1980’s and some of them probably hated Jungle Drum and Bass! The thing was however you always found something to listen to. At least up until the end of the 1990’s.

 The Post Disco era and the 1980’s

EDIT; Let me add a bit more information for future historians in addition as I looked Wikipedia and they describe the post disco era as stretching from 1980 to 1987. As you would expect from Wikipedia it’s total nonsense written by people who either weren’t there or weren’t paying attention. Whilst ultimately everything that comes after disco is by definition post disco, the period between 1980 and 1987 had two distinct and separate sounds as you have already seen. The Period between 1980 and 1983 is different from the sound that followed from 1983/84 onward during the Two Step period. See the post disco era (1980 to 1983) as the Handover/Transition between Disco era Funk of the late 70’s early 80’s and the Electrophonic phunk sound of the 1980’s . Some call it the carry over period. The perfect balance between live music (Real Instruments) and the Synthesizer. The Whispers (In the Raw) or the Dazz Band’s (Shake what you got) are two examples I always give as the archetypal post Disco era sound. Funkadelic’s (One Nation Under a Groove) the anthem of Funk with Bernie Worrels incredible Synth work is the track we all remember as the start of this new slick sound. It’s a very important track in FUNK history. It was called THE ANTHEM OF THE FUNK. Its one of those tracks that everyone remembers when they first heard it. Often back then the first time you would hear a track was in the Disco as Black music was often hard to come by especially in the U.K unless you listened to pirate radio in the big Cities Like London or Manchester. There was no Internet or social media so you wouldn’t have a clue what was happening. That’s why Magazines like Blues and Soul were so Important to us. In the Disco you would see befuddled looks in peoples eyes when certain new tracks were played. Who’s this? Wow, That sounds like so and so. Have they released a new album?

Parliament Funkadelic, changed the sound with tracks like Aquaboogie and Knee deep. The groove was changing as I said previously, the synth was taking over. The MOTOWN sound was electrified by Mandre in the 1970’s, With The likes of Cerrone, Morroder and others holding up the end in Europe. So electro was part of the late 1970’s and the Disco era, but it didn’t engulf Black music until the end of 1982 going into 1983. From then on most of the sound of FUNK was electrified. The sound from 1983 onward is different. Yes it’s still Electrified but by this time Kashif, Zapp, Leon Sylvers, Gap Band, and others had evolved the sound D-train. (She’s Strange) By Cameo and (Magic Touch) by Rose Royce are two stand out tracks that made us realize the sound was slowing down. The S.O.S Band as I have already mentioned and CHANGE as well who were also part of the Jam and Lewis Stable gave us stunning atmospheric Two Step grooves.

They would never have been released as first singles in the late 70’s. They would have bombed when tracks like (Stomp) by the Brothers Johnson or (One Nation under a groov0e by Funkadelic were setting the Disco dancefloors on fire 4 to 5 years previous. It was as if FUNK was taking a break from the hell for leather Funk and Electro Phunk of the post Disco period. Now in the early to mid 1980’s we were mostly back to the slow groove.

(1983 to 1987) Is also where Rick James, Cameo, The Gap Band, The Bar-kays and Slave amongst others assert their dominance of what counted for Hardcore Funk in this period.This is really Is where Jimmy Jam and Terry Lewis begin their empire which lasts into the 1990’s.  It’s where Rap separates from the mainstream Funk and becomes Hip Hop, a genre in it’s own right. ( I’m talking about modern hip-hop, I know the hip hop culture goes back to the 70’s).

It’s also where Britfunk bands Like Loose Ends adopt the American sound and add that raw British flavour Funksters across the Pond loved. Its where U.K bands building on the legacy of  70’s giants like Osibisa, Cymande, The Real Thing, Delegation, and others begin the British Invasion currently being written out of history by Eddie Pillar and Acid jazz records. Junior Giscombe who scored our first Number 1 in the States, Imagination, Central Line, Light of the World, Linx and other Brit Funk bands started the ball rolling in 80/81.  Then as the decade progressed the likes of  5 Star, Old school British Soulboy Billy Ocean, Soul To Soul, Sade, 52nd Street, Sahara and many others put British Soul on the map.

Prince VRS Rick James.

In the 1980’s Rick James updated his sound, brought back all his old Motown buddies like Smokey and the Temptations, became a dominating force and kept Funk alive with bands like The Mary Jane Girls and the Stone City Band whilst Prince was doing his best to water it down with the “unwanted” rock/pop sound. You will still see arguments raging about Prince Vrs Rick James. Even though I was firmly on the Rick James side of the the fence I concede that Prince is still one of the greatest musical geniuses to have ever lived, and without doubt the most talented artists of the 1980’s. And Rick always said that he was more of a showman than a singer. Prince is The nearest our generation got to producing anyone close to Stevie. His music brought all the races together which is a good thing and he could fill out any Rock Concert as well as any Funk concert. No one else I can think of could do that in the way that he could.

I remembered Prince from the Disco days and (Sign of the Times) but by now his sound had changed. I remember DJ Greg Edwards when referring to his new sound saying “Take the money and run son!” By the mid 1980’s many felt the Funk was dying. Some people just couldn’t accept this new Electrified sound preferring instead the old Jazz Funk sound of the early 1970’s.  I was fine with it but some were not. Blues and Soul writers were tearing their hair out decrying the fact that no one was playing instruments any more.  It was all Synthesizers and Electrofunk. “Robot music” as some people called it.  Many of us felt that adding rock into the bargain was making it even worse. Lots of Funksters stopped buying Prince albums and I was one of them. It was around this time that the Rare Groove (70’s Funk) became popular among some Funksters. As there was not much of what people called real Funk being played they went back to the 70’s looking for stuff they hadn’t heard and there was plenty of it. Rare Groove is what Eddie Pillar and his cohorts claim on Wikipedia is called acid jazz. Apparently invented by Gilles Peterson. The co founder of Acid Jazz records. There is no such genre.

At this period in time Thriller had turned Michael Jackson into the biggest Superstar on the Planet and it helped make Soul/R&B the mainstream sound that it is today. That was a Soul album which sounded well out of date for the time period, but the marketing and the famous horror video made it an all time best seller. Electrophonic Phunk was liked by most of us but we wanted it Funky, we didn’t want Rock. One Way spoke for many with a track called (Mr Groove) begging for James Brown to return. Our wish came true when he released (I am Real) with Full Force.  Anyhow when you come across Rick James and Prince fans still arguing now you know why. The Love sexy album brought many of us back into the prince fold.

That’s all history now and we miss them. They were both an important part of our Youth and an Important part of the Funk. So there were two separate periods in the post Disco era and before the start of New Jack Swing and not just one as stated on Wikipedia. The post disco era does not end in 1987. The Post Disco era ends in 1983 when the sound settles down into the two step period from late 83 into 84. It speeds up again in 1986/1987 when the James Brown sound returns to mainstream Funk as the sound begins to water down New Jack Swing then changes into what people call Neo Soul in the early 1990’s when the new generation take over. I was there and your research with AUTHENTIC 1970’s/1980’s Funksters will bear out what I have written. Now lest continue with Synkronised and another sound i esaily recognise on an album which supposedly doesn’t use outside influence. An album on which not one thing was taken ….according to Jay Kay….

-‘-  

Planet Home

acid jazz

(Late 1970’s early 1980’s Electrophonic Phunk )

Incorporating “Punk Funk” The sound of “Slick” Rick James

All Aboard The Soul Funky– James Brown

80’s Punk Funk and 70’s Elements in the 1990s

British PUNK FUNK? Never thought I would live to see the day. Another pastiche of a particular groove. We go from the Soft core FUNK violins of the Post Disco era on Canned heat to the Hardcore Moog synth of the same time period. Parliament, Cameo, The Gap band, Rick James, The Barkays etc. This sounds like Rick James meets Earth Wind and Fire (The Elements). Though It’s based on the template of Parliament’s (Knee Deep) with the choir and the Moog synth, The beginning is straight Punk Funk recognizable to anyone who knows Rick James and that was every Funkster in then 70’s and 80’s. The bassline reworks (Night Cruising) by The Barkays, The punk funk style track that everyone thought was Rick James. It hangs on the first beat like (Superfreak) Rick James. You can hear that cheeky Deep Moog synth and the Telephone ring of the Stone City Band with Tommy’s guitar stuttering away in the background. You can hear half of Planet Home in just the Intro toThe Stone City Bands Freaky .Aspects of the groove come to think of it probably has it’s origins in Michael Jackson’s (Working Day and night). You can hear similar right at the end of that particular track

The Bassline- Planet home is Buffalo not the Queens but the bassline has the two nods at the end a bit like Tom Browne’s (Thighs High-grip your hips and move). or (Do it to me) Vernon Burch. A groove that goes all the way back to James Brown (All aboard the Funky Soul Train) . Its basically the same as The Synth/bassline of (I’m in Love) by Evelyn King also came to mind. I wasn’t sure where that bassline was going the first heard it either.

The Chorus

In the chorus at “There’s no place like” we get that bassline again, this time it sounds like Shalamar’s (In the socket). Or (Celebrate) by EWF though there are many versions of that bassline as you have seen from my reccomendations for You give me something. The singing styles sounds like Maurice White on (Saturday night) so it’s EWF. At the break before “This blue Sphere…” . I recognise that exact same break where they come in singing straight away from a Stone city band track. It might have been a remix version of (freaky) by Stone City or maybe the US version of the Boys are Back Album. I distinctly remember a Stone City track with that break repeating itself over and over again.

…@ Can’t you see that….When the chorus comes around for the second time Earth Wind and Fire begin to take over @ AAHHaa but you can still hear Rick James’s (Give it to me baby) in the background disguised as a synth or vocoder. The haunting keyboard style (Like the sunrise) sounds like Funk god Greg Phillinganes and the stuff he did with Quincy, Patti Austin and co. Like on (Bet wouldn’t hurt me) for example. You can hear it on Quincy’s (Secret Garden) later on in the1980’s. The Winans use this style on (Heaven) I remember, so its nothing new.

The Latin bridge

“Temptations sing!” …..Planet Home is Blue and Green”

The salsa could be anyone probably George Duke, E.W.F or Pleasure. There is a bit of similar piano work at the beginning of (Big Time) by Rick James but the groove is more similar to (Positive Energy) by George Duke. There is also a similar groove by Tito Puente but I don’t know what it’s called. I heard it once on the radio but that’s all I can tell you.  Delegation who used to dabble in Latin/Calypso quite a bit also come to mind with their track (Singing).. There are many instances of that Groove in the Funk/Latin sound of the era….“Planet Home is Blue and green”……is straight copied from (Shining Star) one of EWF’s most famous tracks… “Shining star for you to see what your life can truly be”…they have just changed the lyrics.

Planet Home is Blue and Green!…All that’s missing at this point is “YOOoohOh HO! ” from Rick James’s (Give it to me baby). Or perhaps they should have said “Temptations sing!” …. @ “Blue and Greeeen e e e e e e” …. We then launch into Shalamar’s (In the socket) but ‘Synthed up’ Stone City Band Style. So they kept the Stone City Moog but the “Eee- Eee- Eee -Eee- Eee- Eee”!  stutter is the same as the Shalamar track…… Underlying this groove we now have the Parliamentarian drum clatter from (One Nation under a groove) or the Cameo’s answer on (Cameosis). Its classic hardcore FUNK. Moog synth, high hand claps Parliament/Rick James/Stone City style.

Towards the end

The bassline moves on and begins to sound more like EWF’s (Celebrate). There is the feel of (Monkey chop) by U.K Reggae man DAN I, or (Night to remember) Shalamar which leads us to an ending that anyone who knows the old Earth Wind and Fire albums in the 1970’s will remember. So as I said Planet Home is basically a pastiche of the Hardcore FUNK sound, Parliament, Cameo , Rick James, The Barkays softened by the Elements (E.W.F). The overall template belongs to Knee Deep which fused the Moog with the choir. They have just switched it to that of EWF. Listen for yourself and If you grew up in the early 2000’s with a track like Planet Home then see what the original sounds do to your mind. To your SOUL...

Planet Home

acid jazz

(Late 1970’s early 1980’s Electrophonic Phunk)

Incorporating ”Punk Funk”The sound of Slick Rick James

-‘-

[Rick James and the Stone City Band/ Shalamar/ CHIC/ Earth Wine and Fire]

Credited to

Jay Kay & Toby Smith

Grandmaster Flash and the Furious 5; The message–[Intro cymbals only]

The Barkays; Night Cruising-[Bassline and the bridge]

Rick James / The Stone City Band; Freaky-[The groove]

The Stone City Band; Feel Good about yourself

Steve Drayton; Stop playing with my love

[Bernie Worrel’s Cosmic FUNK Synth]

Parliament Funkadelic; (Not Just) knee deep & One Nation under a Groove (12”Version)

Rick James;

Give it to me baby- [Elements of the underlying groove]

Rick James: New York Town & You and I (long version)

Recommendations.

James Brown; All aboard the Soul Funky Train

Vernon Burch; Do it to me

Evelyn King; I’am in Love & Get Loose

-‘-

[The “Punk Funk” Ringing sound]

Rick James; Call me up, The Stone City Band; Telephone Love

Process and the Doorags; Telephone Love

-‘-
[The “Punk Funk” groove]

Rick James/ The Stone City Band;

Ladies choice (featuring Roy Ayres),

Love hassles & Dance so fine.

Rick James; Big Time (12”version),

-‘-

[The Latin Bridge]

George Duke; Positive Energy

Weldon Irvin; Deja vu

Pleasure; 2 for1

Earth Wind and Fire; Faces

Earth Wind and Fire; Shining Star..
[Lyrics; “Shining star for you to see” becomes “Planet home is blue and green” ] 

Recommendations.

As a side note you can feel the influence of E.W.F in Aquarian dream

Aquarian Dream; Play It For Me & Do You Realize

-‘-

Planet Home @ “Blue and Greeeen e e e e e e”….

[Bassline and the tinkering drum clatter/Cowbell]

Shalamar; In the socket

Cameo; Cameosis

Recommendations

Rick James; Hard to Get/Give it to me Baby (Instrumental mix)

Rick James; Superfreak (12 inch Version)- Feel that synth and the guitar licks!

Kleeer; Ride it & De Kleer Ting

The Strikers; Body Music

The Gap Band; Party Train

-‘-

Planet Home @ “I wanna go there”…

Shalamar; Night to remember-[Bassline]

[Brit-Funk]-Dan I; Monkey chop

CHIC/Sister Sledge; Lost in music-[Underlying guitar style towards end]

CHIC!; I want your love-[Bassline]

-‘-

[Underling Keyboard style in parts]

Pleasure; Theme for Moonchild-[Ending only]

BeBe and CC Winans; Heaven

-‘-

[Planet Home..The Ending]

George Duke; Yeah we going

The Classic Earth, Wind and Fire endings

Take it to the sky-[Ending only]

Sunshine-[Ending only]

Can’t hide Love-[Ending only]

Imagination-[Ending only]

All about Love

Aquarian Dream; Yesterday Was So Nice Today

Kool and the Gang; Whisper Softly

Minnie Ripperton; Les Fleur

Nods and Salutes to “Slick Rick” James (Punk Funk)

Evelyn “Champagne” King; I can’t stand it- (A tribute to Rick James)

Sekou Bunch; I Can’t stop lovin’ you-[Bass slap legend]

Cameo; Soul Army- (“Party over here, party over there”)-Ref (Big Time)

The Barkays: Freaky Behavior

Grandmaster Flash /Furious 5; Its Nasty- (Slick Rick!.. Yooohoo!)-Ref (Give it to me Baby)

LA Voyage; All night affair (“Party over there”)-Ref (Big Time)

Nu Shooze; I can’t wait

Other 1970’s/1980’s FUNK (Planet Home) Recommendations

[The Deep bass Moog Synth]

The Gap Band

You dropped a Bomb on me

Automatic Brain

If you love the Moog Synth sound then  1980’s Gap Band albums will be right up your street.

Cameo; Please You

(Cameo) Mantra; Action

Mantra part of the Larry Blackmon Crowd and you can feel the Cameo influence on their tracks. Sadly they only recorded one album. It would have been great to have had then around in the 80’s.

Ray Parker Junior; For those who like to groove & Still in the Groove

These instrumentals were big dance floor hits back in the day and you can hear the influence of the Funkadelics synth. During this time period, Ray Parker and Raydio were mostly only know to Funksters. However Ray but went on to become world famous and a Household name later on into the 1980’s thanks to his commercial hit Ghost Busters. A major film of the 80’s.

The Brothers Johnson;

You Keep Me Coming Back

*Save me

*(Don’t miss the guitar solo and the thundering bass slap towards the end)

Rene and Angela; I’ll Be Good

Earth Wind and Fire: Saturday Night-[Singing style]

The singing style on Planet Home is no doubt E.W.F

Buster Williams; Dreams come true

Earth Wind and Fire; Magic Mind

Earlier on in the 70’s —Imo

Stevie Wonder; (Have a talk with God)

*Inspired the Moog synth sound of Parliament/The Gap Band/The Stone City Band

-‘-

Barry White (Sweetness is my weakness)

*Inspired some of the Punk Funk sound of the late 1970’s early 1980’s.

-‘-

Mandrill; (Universal Rhythms); [The Ending]

*Inspired some of the Earth Wind and Fire of the 1970’s.

-‘-

Any other transcendental endings you remember?

Change; On Top

Wood Brass and steel; Funkanova

Mizellstory; NR time

Brass Construction; Love (Is what we need)

The Jacksons; Time waits for no one

Earth and Fire; I’ve had enough

Brass Construction; Love (Whistle of the Universe)

.

Planet Home Recommended albums

[The Stone City Band; Out of the Shadows Album]

[The Barkay; Night Cruising Album]

[Earth Wind and Fire; Spirit Album]

[Cameo; Cameosis Album]

And don’t forget The Larry Blackmon Stable

Mantra, LA Connection and Cashflow worked with Larry & Cameo. (Party Freak) and (Mine oh mine) a take on Fatback were massive hits by Cashflow in the 80’s.

Black Capricorn Day

acid jazz

(Late 1960’s early to mid 1980’s FUNK)

Black Capricorn is the Devil in Tarot so thats what the serpent is telling you. This track is not really a post disco track but belongs in the mid 1970’s. So the 1970’s Blackbyrd flies again in the 1990’s. The admission is in the title.This sounds like it came straight off a Donald Byrd album. Another pastiche of a particular 70’s Funk sound. This time it’s the first half of the 70’s. Lyrics “Hey Hey Hey?”… Idris Muhammad or Kool and the Gang or Earth Wind and Fire. Roy Ayres and Herbie Hancock. All familiar stuff to any 1970’s Funkster. Straight forward Funk. In other words it’s James Brown.

Black Capricorn Day

acid jazz

(Late 1960’s early to mid 1970’s FUNK)

-‘-

[Donald “Black” Byrd/ Kool and the Gang/ Idris Muhammad/ Roy Ayres]

Credited to

Jay Kay

James Brown; Take some leave some

Donald “Black” Byrd and the Blackbyrds

Do it fluid

Funky Junky

Black Byrd

Slop Jar Blues

Idris Muhammad; Hey pock a way-[“Hey hey hey”!]

-‘-

[Similar 1970’s FUNK]

This sound of course wasn’t limited to the great Donald Byrd. It’s another style of Funk from the 60’s and early 1970’s. Another sound reclassified as so called 1990’s “acid jazz” by Eddie Pillar and Gilles Peterson. It is not. James Brown, Mandrill, Osibisa, Kool and the Gang etc, were not invented in England in the 1990’s by Jamiroquai nor by an infiltrator record label called Acid Jazz records. There is plenty of this sttyle of FUNK in the 1970’s see below….

Recomendations