musicology #245

soul&boogie #6

(Faze O - Ridin’ High)

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Cats…apologies for not completing the ’soul&boogie’. Been ‘grafting’ since EARLY Saturday Morning and have only just made the time and space to hook up to themusicologist. Decided to continue the theme for this week so it’s straight into this one from Chicago boogie quintet Faze - O who scored with this 1978 cut on the She label. Keyboardist Keith “Chop Chop” Harrison, guitarist Ralph “Love” Aikens, bassist Tyrone “Flye” Crum, drummer Roger “Dodger” Parker, and percussionist Robert “Bip” Neal, Jr combine to deliver a glimpse into the future of funk/soul/boogie at the dawning of a new day.

LISTEN TUNE……

musicology #244

soul&boogie #5

(Dolette McDonald - Xtra Special)

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quick's the word and sharp's the action on today's post..Busy, Busy, Busy at the moment and time waits for no man so I'm dropping this piece of '82 'shun on you without further ado. BIG tune on the floor and in the clubs back then and is still very much sought after. 12" on the BC label. Produced and mixed by Began Cekic for, (Al Hudson's?), One Way productions.

musicology #243

soul&boogie #4

(Maze - Before I Let Go)

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Boogie of the highest order from the legendary Maze featuring, of course, Frankie Beverly. Too many bombs dropped by them to list and every one a winner. Already featured twice on themusicologist so no need for the introduction. This one, released in 1981has got it all..lyrics, vocals, production and of course impeccable syncopation.

musicology #242

soul&boogie #3

(Change - Paradise)

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For themusicologist one of the many benefits of listening to and learning from the ‘boogie’ is the genre’s optimism. At the time, (certainly in England), the outlook was BLEAK. Margaret Thatcher, (and crew), had torn the heart out of the country and begun to establish their ideology on the nation.

Free Market, ‘Entrepenurial’, State backed Capitalism where the individual was more important than the collective. I’m not about to go ‘into one’ on the political philosophy of the times all I will say is that as an 11 year old in 1979 just about to start secondary school it certainly had a huge impact on me. Greed became the order of the day which in my opinion had a negative impact on society at large. The boogie on the other hand had a positive effect bringing people together ‘under a groove’.

The group in today’s spotlight were formed in 1979, (in Bologna), by Italian producers Jacques Fred Petrus and Mauro Malavasi and with their first album ‘The Glow Of Love’ enjoyed instant success. Obviously Luther Vandross as lead singer played a part but more than that the group had ’style’ and so even after Luther’s one album contribution they managed to evolve and continue to deliver.

The importance of ‘Boogie’ to the development of what became known as ‘House’ is unquestionable and this cut from their second album, (Miracles), is a 5 minute slice of Boogie, with a capital B.
Tight drums, pucker bass line, excellent production and the perfect vocal from Diva Gray as the cherry on the cake.

musicology #241

soul&boogie #2

(Kleeer - Intimate Connection)

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day two of the ’soul&boogie’ and already dropping bombs…anyone who was there throwing shapes knows that this cut tore it up anytime it was played and still sounds as fresh as it did more almost 25, (Count ‘Em), years ago.

The cats in question, (Paul Crutchfield, Richard Lee, Norman Durham and Woody Cunningham), started out in the early 70’s but it wasn’t really until they hooked up with producers Patrick Adams and Greg Carmichael around 1976, (as the Universal Robot Band), that things really began to take off.

3 years later they changed their name to Kleeer and begun to record, (for me), some of the best boogie of the period, one of which has already graced themusicologist, (musicology #10). This one though from 1984 is the cream of the crop. produced by Eumir Deodato, engineered and mixed down by Mallory Earl for Atlantic, has to be one of my most cherished pieces of the ‘black stuff’.

Serious…..

musicology #240

soul&boogie #1

(Light Of The World - London Town)

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inspired by last weeks mod selection I would like to take this opportunity to explore in chronological order the music of the various scenes I have had the pleasure of being involved in over the years.

mod revival was the first, (1977 - 1981), and this one, (1981 - 1984), known over here as ‘Jazz Funk’ musically and ‘Casual’ fashion wise saw me into the crucial teenage years. For me the two are connected, especially in attitude. Jazz Funk/Casual was yet another working class movement that sprung out of a desire to be ‘modern’ and create something in tune with the times. This selection is a soundtrack to those years. ALL big tunes on the scene.

First up has to be this one from UK outfit ‘Light Of The World‘ with the essential 12inch ‘London Town’ on the Ensign label, (produced by Augie Johnson). Proof if needed that we certainly have the talent on this side of the pond to produce genre defining cuts of the highest order.

musicology #239

inmodwetrust #6

(The Marvelettes - Someday, Someway)

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Bit late with this final instalment of the mod selection. big night Friday night…the Cyprus cats were back in town to celebrate which, although having nothing to do with ‘mods’ certainly deserves a mention. As the regulars know themusicologist is, for me, a musical diary, a soundtrack connecting my feelings to the sweet sound of music, the benefits of which are many. had a great night made even better by making new connections which was a pleasure.

Music wise today’s cut is another from the Berry Gordy and Motown selection by a girl group whose name burned brightly on the emerging Mod/ernist scene especially in the lead up to Soul establishing itself as a mainstream musical force. B-side to their classic Beechwood 45789. Quality double sider that was definately played in and around London back in the day.

Tamla 45 from the pivotal year concerning mods and soul, (1962), whose paths were inextrcably linked on the ‘road to freedom’ as oppressed people discriminated by the colour of their skin or, (as was/is the case on these fair shores), the way they spoke began to break down, (and through), the walls of class and colour boundries to have more opportunities to fulfil their dreams and aspirations.