VA - 80s Groove Sessions [2CD Set] (2002)

×

VA - 80s Groove Sessions [2CD Set] (2002)

Close

Disco may have been a dirty word as the 70's came to a close but during the 80's its influence on much of this selection helped create some of the greatest dance music recorded. As a poet and philsopher once said, 'Lets Groove Tonight'…..
The soul and dance of the 80s are often viewed more as a corridor that black music shuffled through between the twin peaks of 70s disco and late-80s-and-beyond House rather than having any substantial movement of its own. It was a time when new technology determined the sound of the music as much as the songwriter's intentions. It was also a period that saw a wholesale
appropriation of dance and funk by young white boys in the form of new romanticism.

In a lot of respects, disco continued, for better
or worse until the mid-80s. It didn't use the 'd'
word of course, after the 'disco sucks' movement in the American media made it unacceptable. Disco became an umbrella for all ills; casting all that had ridden the happy (or should that be H.A.P.P.Y?) bandwagon into abrupt chart freefall.

However, 'disco' informs a great deal of the tunes here – the four is certainly on the floor
throughout; yet there are also pointers to the
future of dance music with increasingly soulful
vocals. Some of these hits flew far from their
leftfield American nightclub roots and became
the lifeblood of suburban middle England, after the rope lights and mirror balls and before the superclub; these were the tunes that enlived Zero 6 in Southend-On-Sea, Harpers in Swansea or The Place in Stoke-On-Trent; which allowed the snooty
London press a field day with their cruel caricatures of provincial burgundy leather box
jackets, pencil moustaches, slip-ons and Capris. This music was, of course, flash; working class flash and taken to heart as aspirational. Whereas in the 70s, UK boys gravitated to the Gryphon greatcoat leaving girls to the O’ Jays, by the 80s, heroes were more unisex. Disco had located the suburban male on the dance floor; and by the mid-80s he had grown accustomed to it. Luther (it was important always to reduce to a single name) became a god; Jocelyn Brown a queen.

These were optimistic times; there was an enormous appetite for urban soulful black music; and given a few notable exceptions, all the music is American. Those who have readily dismissed the era have failed to see it was a time for new producers and mixers to emerge – August 'Kid Creole' Darnell (Material's There But For The Grace Of God Go I), Francois Kervorkian(Musique’s Keep On Jumpin’); older ones got with the beat (Earth Wind & Fire; Curtis Mayfield, Shalamar); for humble cleaners to become divas (Evelyn King) and provided a nexus for deep soul and Kraftwerk's Teutonic beats (Shannon's Let The Music Play). It was an era that embraced both the passion of James 'D-Train' Williams and the disposable transience of Lisa Lisa & Cult Jam.

Enjoy these thirty slices of skittering soul.
Originally spun by Larry Levan and David Mancusco in America, the tracks were then played in Britain by DJs such as Chris Hill and Steve 'You Wot' Walsh; written about by columnists such as Record Mirror’s James Hamilton – but most importantly they were bought in huge numbers by the general public. And now have been sampled, covered and, well, worshipped by a whole new generation. As a poet and philosopher once said, 'Let's Groove Tonight . . . '

DISC ONE:

1. THE FATBACK BAND - I FOUND LOVIN’

This record would simply not go away in the 80s. First released in 1983, it became a No. 49 hit in June 1984, before finally reaching No. 7 in September 1987. Has as much in common with the previous decade’s 'Bus Stop' as Elvis’ 'Are You Lonesome Tonight' has to 'Mystery Train'. However, it remains quite irresistible.

2. THE WHISPERS - AND THE BEAT GOES ON

The Sound Of Los Angeles at its zenith, And The Beat Goes On was only kept from the UK No. 1 spot by Blondie’s Atomic. Founded by brothers Wallace and Walter Scott, The Whispers enjoyed a remarkable career, cutting R&B; in the 60s, before progressing to deep soul in the 70s, and, of course, disco at the turn of the 80s.

3. BLACKBYRDS - ROCK CREEK PARK

Coming out of Washington DC’s Howard University Jazz Studies department, The Blackbyrds were possibly the hippest extra curricular project ever. Their signature cut, Rock Creek Park was a staple of 80s clubs and stands as a fine example of the much-maligned 'jazz-funk' genre. Coming out of Washington DC’s Howard University Jazz
Studies department, The Blackbyrds were possibly the hippest extra curricular project ever. Their signature cut, Rock Creek Park was a staple of 80s clubs and stands as a fine example of the much-maligned 'jazz-funk' genre.

4. CROWN HEIGHTS AFFAIR - YOU GAVE ME LOVE

This eight-piece group from Bedford-Stuyvesant recorded for De-Lite records and displayed their credentials with the mighty Galaxy Of Love. However, it was dwarfed by You Gave Me Love. With its all-conquering 'woo woo woo woos', this No.10 1980 UK smash, came to define the early 80s dance floor.

5. EARTH, WIND & FIRE - LET’S GROOVE

When Maurice White sung through a vocoder, he immediately pushed EWF into the 80s and back into boogie wonderland after the sprawling Faces album had momentarily derailed the progress made with I Am. 10 years previously they had been the house band of the Black Panthers. Progress or sell-out? You decide.

6. MIDNIGHT STAR - MIDAS TOUCH

Another cut demonstrating Solar's remarkable flair, Midas Touch was a No. 8 smash in October 1986 for the Kentucky founded outfit Midnight Star, formed by the Calloway brothers, Reginald and Vincent.

7. GIBSON BROTHERS - CUBA

The beginning of a brief spell of Gibsonmania
was ushered in with this frantic, soulful number from Martinique’s finest. It was initially a No. 41 hit in March 1979; it reached No. 12 a year later.

8. MUSIQUE - KEEP ON JUMPIN’

Although it was Keep On Jumpin's flip, In The Bush, that gained the UK chart attention, this
Patrick Adams-produced, Francois Kervorkian-mixed beauty was released on Prelude in the UK in 1979, and scorched world dance floors. The tune has enjoyed a lengthy sampled afterlife, most notably by Todd Terry with Jocelyn Brown (one of Adams’ muses) in 1997.

9. TONEY LEE - REACH UP

Released in 1982, the underrated Reach Up was produced by Eric Mathews from Gary's Gang. This otherworldly dance classic became a micro hit in the UK clambering to No. 64 in 1983. The basis of it was sampled for Phats and Smalls’ Turn Around from 1999.

10. IMAGINATION - FLASHBACK

Sneered at by the cognoscenti, and camper than a Bedouin settlement, Imagination – Lee John, Ashley Ingram and Errol Kennedy – left little to the, er, imagination. Now the dust has settled we can reflect on enjoyable funky slice of Brit groove, which reached No. 16 in 1981. Lee John still looks about 20 today.

11. EVELYN KING - LOVE COME DOWN

After her initial success in 1977 with Shame, King, a former cleaner at Gamble and Huff’s Sigma Sound studios was allowed to develop and grow. This 1982 Kashif-penned cut, more than any other here, captures the optimism and beauty of early 80s groove; sparse use of technology, a clear lyrical and vocal depth – and the ‘dadedededoo’s before the chorus are simply life affirming.

12. INDEEP - LAST NIGHT A DJ SAVED MY
LIFE (12” mix)

Another tune that helped form opinion that the DJ was god, Last Night A DJ Saved My Life was significant, special and sensual; it was also possibly the last disco record made until Daft Punk reinvented it in 1997. An enormous hit at the Warehouse in Chicago, this reached No.13 into the UK charts in 1983 and was respectfully revived by King Britt’s SYLK 130 project in 1998.

13. JOCELYN BROWN - SOMEBODY ELSE’S GUY

After a lengthy spell as a session singer, Brown became a diva for the 80s. Her deep, lusty, guttural vocal graced this No. 13 1984 classic. The usual tale of male duplicity is rendered dramatic with its grand piano introduction and Brown’s powerful sermonising.

14. BOBBY THURSTON - CHECK OUT THE GROOVE

As Bobby advised us on this 1980 Top 10 classic, “Dance to the punch of those thumping bass lines”. Really, need we say any more?

15. TOM BROWNE - FUNKIN’ FOR JAMAICA

A jazz-funk anthem, beautiful and irresistible. One of the first times the British music press really put their weight behind a black dance record. Trumpeter Browne took this street classic to No. 10 in July 1980.

DISC TWO:

1. SHALAMAR - I CAN MAKE YOU FEEL GOOD

If ever a band personified Solar’s strap line “Beautiful music by beautiful people”, it was Shalamar. The trio of Howard Hewitt, Jeffrey Daniels and Jody Watley hit their pop payday in 1982 with this effervescent lead single from
their best-selling Friends album. And then Jeffrey started moonwalking and world dance floors were never quite the same again . . .

2. D TRAIN - YOU’RE THE ONE FOR ME

Called “the paradigm of the Paradise Garage” by Francois Kervorkian, who could not fail to be moved by James Williams’ vocal break, pleading "with the love I have inside of me, we could turn this world around"? A forerunner of soulful house, it was a hit twice, in 1982 and 1985. It also inspired original bedroom superstar, Paul Hardcastle, to begin recording.

3. SHANNON – LET THE MUSIC PLAY

A simply brilliant record, with its punchy sequenced beats, borrowing heavily from Electro (as it was known in old money). Ex-New York Jazz Ensemble/Brownstone vocalist Brenda Shannon Greene teamed up with Lenny White and cut this record on Emergency in 1982. It became a No. 14 UK hit in 1984, and its influence can be heard today in the Electroclash movement.

4. BOOKER NEWBURY III - LOVE TOWN

The summer of 1983 was defined by this beautiful slice of soul by Newberry, former vocalist and keyboard player with Sweet Thunder and Impact. It climbed to No. 6 and the groove lasted all summer long.

5. MACHINE - THERE BUT FOR THE GRACE OF GOD GO I

This oft-forgotten track is significant for being one of the very first written by Kid Creole. A witty diatribe against the racism prevalent on the New York club scene, it typifies the perfection that Darnell would strive for in his writing production.

6. EIGHTIES LADIES - I KNEW THAT LOVE

For years seen as the apogee of ‘rare groove’, the Sylvia Striplin-led Eighties Ladies were a whole different kettle of class. From 1980, I Knew That Love – written by Roy Ayers – benefits from the wondrous refrain of “baby I’m your lover, lover I’m your baby”.

7. BOBBI HUMPHREY - BABY DON’T YOU KNOW

Humphrey’s flute skills earned her a career with Blue Note in the 70s and a guest appearance on Stevie Wonder’s Songs In The Key Of Life. She also provides a lovely, laid back vocal on this 1978 sleeper club hit.

8. CARRIE LUCAS - DANCE WITH YOU

Previously backing vocalist with The Whispers and partner of Solar label boss Dick Griffey, Lucas enjoyed a brief and bouncy solo career. A No. 40 hit from 1979, Dance With You is the sound of the boogie writ large.

9. CURTIS MAYFIELD - TRIPPING OUT

“This pounding in my heart is all because of you”. Poet, visionary and original soul rebel Curtis Mayfield updated his formula with this 1980 classic from his Something To Believe In album. It still manages to sound timeless.

10. LINDA CLIFFORD - RUNAWAY LOVE

Described as a ‘definitive disco torch song’, Runaway Love was from Clifford’s If My Friends Could See Me Now album. Its strident vocal and strong redemptive message makes it one of the stand-out tracks on this collection. Clifford, of course, contributed Red Light to the Fame album and had some UK chart success with her version of Bridge Over Troubled Water in 1979.

11. ROY AYERS - EVERYBODY

Ayers recorded for Atlantic before forming the band Ubiquity and recording extensively for Polydor in the 70s. His often under-appreciated influence helped shaped jazz-soul crossover. This cut pays homage to his own Everybody Loves The Sunshine, taking the groove resolutely uptempo.

12. SYLVIA STRIPLIN - GIVE ME YOUR LOVE

As vocalist with Aquarian Dream, Striplin came to Roy Ayers’ attention. She went on to sing for Ubiquity and Eighties Ladies, as well as cutting her solo album on Ayers’ Uno Melodic label. Striplin’s up-close emotional vocal sparkles throughout this cut, written with and also featuring Ayers. It was released on the Champagne/DJM label in Britain in 1980.

13. LISA LISA & CULT JAM(FULL FORCE) - I WONDER IF I TAKE YOU HOME

With the production team of Full Force behind the record, I Wonder If I Take You Home develops out the Shannon blueprint, matching soulful vocals with hip hop beats. Go beyond the dated sampled effects and listen to the timeless quality of the tune.

14. THE DETROIT EMERALDS - FEEL THE NEED IN ME

With the angelic voice of Bootsy/Funkadelic cohort Philip Wynne, this aching 70s beauty fits in entirely with the 'love song set to music' ethos of 80s groove. It was a No. 4 hit in
February 1973, and rose again to No. 12 in June 1977.

15. LUTHER VANDROSS - NEVER TOO MUCH

Rising through session work, through Charme and Change, and described by none other than Aretha Franklin as ‘one of the premiere vocalists of our time’, Luther was the undisputed fluctu-weight champion of 80s groove. Never Too Much, his 1981 self-penned and produced classic. Right from its Marcus Miller played introductory bass-burst, it provides a most fitting end to our collection.