The incessant “light years” chanting is familiar to any 70’s/80’s night clubber . What do you think! [Brit Funk]-David Joseph (Formerly of High Tension); You can’t hide your love, Bobby Nunn; She is just a groupie & Private Party, SOS Band; Just be good to me & Tell me if you still care, (Rick James) Teena Marie; Lovergirl & Fix it, [Brit Funk]–Alton Edwards; I just wanna spend some time with you, Ray Parker Junior; For those who like to groove & Still in the groove, [Brit Funk]-David Grant (Formerly of Linx); Stop and Go, [Brit Funk]-Well Red; limit of your loving. (1983 to 1987) Is also where Rick James, Cameo, The Gap Band, The Bar-kays and Slave among others assert their dominance of what counted for Hardcore Funk in this period. The groove now sounds like Evelyn King’s (Shame), The echoing keyboard sound the guitar “chops” doubled the symbols removed and replaced with “Ewooow” synth sounds bit like elements of the Dazz Band’s on (let it all blow.) Discover releases, reviews, credits, songs, and more about Chuck Brown - Greatest Hits Back It On Up at Discogs. Two step was sound we did well in the UK especially in the 80’s because we grew up with Reggae as well and it was the same speed. Back when we were a small underground movement desperate to find a nightclub playing the FUNK. He is a legend up north as we might say down here in London and lets not forget some of the most dedicated SOULHEADS were and still are in the North of England. A lot of kids who hadn’t heard of people like Cameo, SOS Band and the like switched to FUNK. Neither they nor acid jazz records speak for England. This early 1970’s Mizzel Brothers style track steals the intro from Marvin Gaye (Come live with me Angel) and Pleasure’s, (Living without you) The intro violin arrangment from Bobby Humphrey’s (Please set me at ease) the groove from Johnny Hammond and The Stone City band and the ending from Pleasure via coltrane. The bassline sounded like Freddies dead from Curtis and the “doodo doos” of course from Stevie’s Too high. If they won’t tell the truth I will do it for them regardless of threats. Stevie Wonder ( Ebony Eyes or Take up a course in Happiness) are recommendations for this sound. Its another classic FUNK groove that Eddie Pillar and Gilles Peterson claim they invented in 1988 here in England. I have de-constructed just about every Jamiroquai track down to the last bassline, drum pattern or groove and have shown where they stole it from in my opinion. Well If you were the average 70’s kid, when you first heard deeper underground in 1999/2000 you would immediately remember all those synthesizer sounds of the mid 70’s. Funky Jazz Grooves. Graham Central Station; Tis’your kind of music, Brides of Funkenstein; Disco to go (George Clinton), The Brothers Johnson; Q (A tribute to Quincy Jones), [Parliament; Mothership Connection Album], More music stolen from Stevie. [Pleasure/ Johnny Hammond/ Marvin Gaye/ Bobbie Humphrey/ Stone City Band/ Coltrane], Pleasure; Living without you-[intro only], Ethel Beatty; I know you care-[Intro only] Stevie Wonder/Carl Anderson; Buttercup. Stevie Wonder; Another star & Bird of Beauty, [Brit Funk]-Chris Paul and David Joseph; Expansion’s (1986)-[Lonnie Liston Smith], Earth Wind and Fire; Running & Brazilian Rhyme, Donald Byrd; Loves so far away-[The Flute and the “full stop” break], Graham Central Station; Release yourself-[Lyrics; “Stop and take a look at what you’re hanging, Azymuth; Mimosa-[The Classic Black Latin sound], [Other 1970’s/1980’s Funk & Latin Suggestions], [Brit Funk]-Phil Fearon and Galaxy; What do I do (Carnival mix) & Everybody’s laughing-(Latin), Michael Jackson; Don’t stop till you get enough, & Wanna be starting something, [Brit Funk]-Linx; So this is Romance & Intuition, BeBe and CC Winans; Heaven [Elements of the vocals], Brass Construction; How do you do (Towards the end @ the “national anthem”), More music stolen from Stevie. Marcus Miller; Sun don’t lie, Lovin’ You & Blast, Don Blackmon; Let your conscience be your guide, Lakeside; Relationship & Fantastic Voyage (To the land of FUNK), Curtis Hairston (formerly of BB&Q)-Chillin’, The Reddings; The Awakening (Sons of Otis Redding), Aurra; Are you single & Make up your mind, Undercover Lover, *Starlena & Curt’ formerly of slave later became known as Deja, Vernon Burch; Do it to me & Get up and dance, Jermaine Jackson (From the Jackson 5); Let’s get serious & Bass Odyssey, Steve Arrington (Formerly of Slave); Tell me what do you want & Mello as a cello, Pleasure; No matter what & Sending my love, Louis Johnson /Stanley Clarke; Play the Bass, Sly and the Family Stone; Thank You For Be Mice Elf Again. If you’re a Young Londoner you most lightly know an old Soulboy/ Soulgirl of the 80’s. Plagiarist Kay Credits himself with Herbie Hancocks’ famous Bassline (Chameleon) the groove of Weldon Irvines (We getting down) and steals the chorus from Johnny Hammonds (Los Conquistadores Chocolates) which apart from Vernon Burch rip off (Funktion) is the only track i understand he’s ever given credit for. It will also be familiar to Funksters who remember the many ethnic instruments employed in the experimental Jazz funk fusion of the early 1970’s. While he wasn't born in Chicago, it's inarguable that Ra was shaped by his experience during his time here. Rare Groove is NOT an English music genre invented in 1988 called acid jazz. To many 1978 is when the Funk died, in 1979 the disco Violins go crazy and the Synth starts it’s rise towards dominance. Tour - One of The Bad Guys 04. Incorporating “Punk Funk” The sound of “Slick” Rick James, 80’s Punk Funk and 70’s Elements in the 1990s. Other than that the origins of this style of Soul are in the 1950’s. We all know what acid House was and is. The groove is Basically Roxy Music’s; love is adrug. CL 1355; Vinyl LP). In the 70’s some of the big names of the slow groove were Curtis Mayfield, Marvin Gaye, Teddy Pendergrass, Barry White, Lionel Richie and the Commodores, Geoffrey Osborne and LTD, Al Green and many others. Blackburn has a lot to do with the FUNK going mainstream in the mid 80’s. All throughout the track you can hear what sounds like the intro of Parliament’s (Rumpofsteelskin) looped. So they will know all the grooves of the era. Black & Brown . The Intro of (What is slick) by Pleasure is looped towards the end of the track which as I said sounds like classic Hammond Smith. Soul to Soul brought back that sound in the late 1980’s on tracks like (Meaning of Life and Back to Life). I can think of no female artist who matches her talent and stayability. You have no idea what it was like to go without the FUNK. her what she need I give her what she like And then by the end of the night . The acid jazz “genre” doesn’t. On this track Kay graciously allows Derrick Mckenzie to take credit for a groove Stolen from Herbie Hancock , Barry White and that whiring sound from (Give up the Booty) Jimmy Smith. A Simple remake of a Funk classic. So Kay claims he invented these Black American sounds in the 1990’s and according to Eddie Pillar the co-founder of acid jazz records Gilles Peterson is responsible for some of the Black American sounds thought he still can’t tell us which ones. There’s a bit of scratching in their somewhere but scratching didn’t emerge until the end of the 1970’s and the early 80’s. Freeeeze, Atmosfear and others were right there as well. So overall as I say this is another pastiche with familiar grooves and styles based on Stevie Wonder. He even steals the Loose Ends style vocals and lyrics (Magic touch) He overlays it with Roy Ayres style vocals then he steals from…..yes you guessed it STEVIE WONDER! The congas from (Stomp) and a toned down version of the great Louis “Thunder Thumbs” Johnson on (Celebrations). They give no credit on their albums to any of these bands. Its similar to the end of (Come for a ride) by Tom Browne or Brit Funk heroes Freeeze on (Flying High) Basically a pastiche of 1980/81. It means you don’t know what Jazz Funk and Soul is. B&S was the Funksters Bible of the era (70’s/80’s). All Funksters owe him and people like him a great debt. Its the start of the Brit Funk invasion when the “English Jacksons”, 5 Star, Old school British Soulboy Billy Ocean, Sade, 52 nd Street, Sahara and many others put British Soul on the map. 1970’s program The Tomorrow people was another great intro. Found insideVARIOUS ARTISTS Rebirth of Cool • 4th & Bioadway/Island The Brits have long known how to cut and mix black American styles, and acid jazz continues the ... From then on it’s a 70’s Latin samba track along the lines of Hammond, Pleasure, and Patrice Rushen. You had to be special with the bass just to get a look in even if the band didn’t employ the bass slap in their songs. Kay whom alongside other Jamiroquai band members were present on Jamirotalk STOLE many of the sounds that I had recommended and. (1970’s Black American FUNK, not Eddie Pillar & Gilles Petersons imaginary “ 1988 acid jazz” genre ). The famous horn section riff makes an appearance later in the track….The intro continues with what sounds like the “Clunk Clunk” of the “Go Go Beat” Chuck Brown and the Soul Searchers (Bustin’ loose) and the atmosphere sounds the same. He is not the first “editor that suddenly appeared out of nopwhere to support the lies on the acid jazz page. Latin Keyboards sounds like Herbie Hancock with the pipes and flute from Watermelon Man. There is something of Prince in the groove and the video looks like his Batman video. So the smoke and mirrors don’t work with me on this track either. There are multiple profiles that have their pages on their watch list. And of course people who copied this style in the 1990’s like Jamiroquai claim that they invented it. Main Vein II. The African American is without doubt the greatest and the most talented musician on the planet. He doesn’t seem to know that MAZE were massive favorites in the London FUNK Underground. You can tell the person who wrote the page is a 90’s kid who wasn’t there. (oops upside your head) elements of which sound like they are looped at the end of the track, Its either that or, Rumpofsteelskin. The chorus is stolen from (There is no limit) by the S.O.S band . The groove is slightly similar to and has aspects of, Janet Jackson (Nasty Boys & Rhythm Nation), Elbow bones and racketeers (Night in New York), Roy Ayres and the old pre- Synth Funk S.O.S Band. With so much essential material to choose from, if you're on a limited budget or you don't know where to start, this record is for you! Bobby MC Ferrin); Wee b.doin It, Chaka Khan; A night in Tunisia (Cover of the original “moody” jazz tune), “A long time ago in the 40’s Dizzie and Bird gave us this sound. Foxy were more well known for (Get Off) which everybody thought and still thinks was sung by someone else. That’s what it was. Found inside – Page 79... bringing the acid jazz scene to Tokyo, explains, the popularity of black music ... The coppery brown tans will fade; crucial job interviews with Japan's ... or Chicago House, A Barry White sound of a George Clinton sound. So it’s another pastiche of grooves familiar to 70’s Funksters replayed in the 1990’s. Our Saviour back then and ultimately our savior now. Those who stole their sounds and claimed they wrote them are on the right! Frankie and the Boys were a major hero’s over herein the 80’s. The chorus is copied from Idris Muhammad’s (Turn this Mother Out). Jay Kay credits himself with Stevie Wonder….AGAIN. FOUND IT! Lisa Rau WITH HOW MANY EVER GRAINS OF SALT YOU WISH, THAT THE BROWN ACID CIRCULATING AROUND US. -‘-, Slave; Steppin out & Just a touch of love-[Elements of the groove], Aurra: (Formerly of Slave) Send Your love, Jenny Burton; Bad habit-[Shab be do waaa, Sha be do waaaa! You will find a lot of the African-Carribean sound in the FUNK  and many of the Horn sounds in early jazz funk come from high-life. Younger readers should be aware that in the 60’s and early 70’s a television was a relatively new and expensive piece of machinery that not everyone could afford. Rapattak were one of the few sound systems catering for FUNK. The Intro sounds like Idris Mohammed’s (Power of Soul) some of the keyboard sounds like Marvin, then we are in Al Hudson territory. It’s Mimicry. Except it studiously avoided all the sounds they actually stole. Acid House was a groove acid jazz was NOT. Many tracks used this style during the 70’s. Experience live in-store music and artist signing events. (Early 1970’s Black American proto/ JAZZ FUNK, not Eddie Pillar & Gilles Petersons imaginary “1988 acid jazz” genre ), The digeridoo is early 1970’s FUNK not a music genre called acid jazz invented in here in England in the 1990’s.This is the beginning of JAZZ FUNK at the trun of the decade late 1960’s/early 1970’s. It’s possibly someone like Jocelyn Brown, Vesta Williams or Carol Williams but I can’t remember. Writer: Brotto L. - Tesser A. Can't Explain It 15. We are still about. For example, Elton John (Yellow brick road), Some aspects of the song sound like Beatles (Something in the way she moves). I think the keyboard was done by or with Patrice Rushen. This is the level of deceit of the Jamiroquai acid jazz cabal. If it’s based on any particular track then I don’t know it. 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). Adds a bit of Diggi and claims he wrote it. As it turned out, the brown acid was wonderful. So yes it’s another Stevie Wonder track reworked with some classic female Latin type vocals added. This is James Brown and as you already know James Brown returned in the same time period (87/88). Back when he was messing with plants. Originally Rose Royce on (Car Wash) from earlier on in the 70’s. How we knew who was coming on tour, what was in the Soul charts and what clubs were playing what. Pillar and his crowd of OUTSIDERS claim that this sound is “acid jazz” from here in London England. They were both an important part of our Youth and an Important part of the Funk. Here's the live music guide for the week of 8/3 through 8/10…. No one was playing instruments any more, It was all synthesizers and Electrofunk, robot music as we called it. At last the FUNK  had a daily mainstream Radio Show in London. Anyone who claims that it is write and tell me what it is in the comments section. The only evolution after that were the digital ones like D&B or Dubstep. This is the stolen FUNK that the rest of their crowd are busy claiming is a SERPENT genre called acid jazz which they (acid jazz records) and no one else claim was “invented” by Gilles Peterson. Daddie Ernie one of many former pirate SOULHEAD DJ’s still performing, spinning the vinyl. So if you like this sound then stay in the 1970’s with Jazz funk and Latin. *possibly Inspired some of the Earth Wind and Fire of the 1970’s. Much of it was basically the old disco “kick smack” beat. There is a “hoooo hooo” in the background which sounds like Rick James on (Dance wit me). It might be the Jacksons. See the SOULHEAD TALES for more info. Probably the most talented group of people ever put together. The Violins of Curtis Mayfield begin one version of this track. Ask 1980’s Black British and AUTHENTIC Soul music journalists if anyone here credits a DJ most have never heard of with a Black music genre called “acid jazz” . Eddie Pillar and Gilles Peterson invented Black American Jazz hip hop?!? Yo will find no mention of anything called acid jazz and you will find no mention of any London DJ inventing a Black music genre called acid jazz. The intro Roy Ayes (What you won’t do for Love) straight away. LWR, SOLAR, Invicta radio and so many others. All been heard before by authentic Funksters who grew up back in the 1970’s and 1980’s. There never was. Another musical pastiche. ( Log Out /  I remember the melody of “King for a daaay, happy that waaay” from another 1970’s Track (Around 76 to 79 I think). Pretty straight forward. This is the stuff mainstream music lovers were listening to when we were listening to Synth Funk in the 80’s. -‘-, Roy Ayres; If you love me-[Horns & chorus], The Brothers Johnson; Ain’t we funking now-[Lyrics;“ Yeah! Quincy Jones feat Patti Austin, James Ingram, Louis “Thunder thumbs” Johnson, *Love foolosophy recommendations also apply. Roy Ayres got there first with that guitar sound/rift I think but there was plenty of that in the late 70’s. It was played at the same time as we were jamming to tracks like; Viki D; This beat is mine, NY Skyy; Lets Celebrate, Barkays; Night Cruising, Brandi Wells; Watch out, Gayle Adams; Love fever & Rick James; Give it to me baby etc. It’s a sound familiar to those who knew the early pre disco E.W. Teddy P and Foxy. Others may disagree. Many of the Disco era bands toured Africa especially Nigeria. From electronica and dance to jazz, classic rock, ambient grooves, global rhythms and the oddest of beats. No such genre exists or has ever existed in this City. Later on in the 1980’s some of the Pirates finally managed to get licences to broadcast legally. No one else I can think of could do that. Jamiroquai released a compilation on the Late Night tales which they falsely claimed were the sounds that influenced them. Regular price. The Chorus is blatantly stolen from JAM by Geoffrey Osbourne. & 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, The Commodores; Lady you bring me up when I’m down, (Narada (Pronounced “Narda”) Michael Walden), 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). So no the Smoke and mirrors  of Rob Harris won’t work on me a as far as the FUNK is concerned nor on any 1960’s/1970’s contemporary of mine from the rock world now in their mid 50’s and upwards. And come to think of it the Bassline sounds a bit like (White Lines) by Grand Master Melle Mel and the furious 5. Some have even been awarded M.B.E ‘s for their contribution to music and our FUNK community.You may even know some of them. So 1970’s Geoffrey Osbourne & L.T.D, Al Hudson and co don’t exist. A place on your radio dial where the unknown past and the emergent future meet in the black market of outer space in inner mind. Sounds modern (1990’s) but could easily have been done in the 80’s By the likes of Sting or Prince, And the second half of (Batman) by Prince. The Synth riff in the chorus sounds improvised as It doesn’t feel like it fits the track. (If I like it I just do it) sounds like Stevie meets Earth Wind and Fire and so does this to any 70’s Funkster. 70’s Herbie Hancock style atmospherics. The flashing disco dance floor from Saturday night fever alluded to in the video to this track. If you vibrate on it’s frequency then you can create it. To fool a London pub DJ called Gilles Peterson Tin Soldier ) is the music! 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