for the next 3 days, (starting today), themusicologist is going AWOL so the SoulBoy posts are going to be short but, at least as far as the music is concerned, sweet. Truth is I am starting a foundation course today and I’ll be busy with it until Sunday night so with that in mind…
Today’s cut is a classic piece of Soul from the early 1980’s. BIG on the Jazz Funk scene that rocked London’s underground towards the end of the 70’s, (in reaction to the commercialisation of Disco), and lasted right up until the mid 80’s, (before Rare Groove took up the batton)
One of my favourite cuts from the period, D-Train consisted of James “D Train” Williams on lead vocals and Hubert Eaves III, (former member of funk and soul outfit Mtume), as instrumentalist. This was the version that moved the crowd mainly due to the introduction..
“With the love I have inside of me we can turn this world around,
we can live through all eternity and we’ll never touch the ground,
We’ll take a chance to ride apoun a star to a place that’s far away,
The light of love will shine on us forever and a day….”
“The psychiatrists, analysts and all the psychological and social experts complain that they have to repair the immense damage done, to children in particular, by the social , parental and educational systems. But this human wastage is their stock in trade, whether they be therapists, politicians or social workers and the like. If everything only went well, the social welfare field would disappear, and all these fine people would be laid off. The system feeds, then, on its own misfortune. And every agonizing revision or alternative would involve an even more complicated, even more perverse machination”.
the musicology is courtesy of Marvin with a quality piece of 80’s Boogie from his final Motown set ‘In Our Lifetime’
Final cut from the birthdaybash rare groove selection and I’m finishing up with a top ranking piece of 80’s soul from a cat called Steve Parks. As far as I know he only waxed one set for the Solid Smoke label from which this, the title track, is taken. First heard by themusicologist in 1986 whilst raving out and about in London Town. Last ‘played ‘out’ by themusicologist at the birthdaybash on November 29th.
Tomorrow begins the Christmas selection. One a day to put us in the mood for when the sleigh bells ring…….
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.
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.
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.
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’.