We should all have a bit of Sly on a Saturday

I am not certain how I became aware of Sly and the Family Stone. Growing up in the seventies and eighties (and let's face it - I'm still trying to grow up now) their songs must have been around - all AM dials on old radios - as the family (my one) listened to Sly's one as they beamed through the airwaves as we danced to the music. Danced to his music.

Or there may have been a showing of the great Woodstock festival  - now this could have been on Two or Four. My memory is shot through with cider and getting to grip of the now - not the then. But somehow there's an image of Sly taking me higher on celluloid  - all sequins and groove that kind of blew my mind as I watched him create the ultimate funk stew - on a stage full of glamour to a crowd full of hippies.

And you know I could never trust a hippy (just saying)

And then there was a conversation with Andrew Innes - over drinks and mayhem in a Sheffield club backroom - all Ivy Ivy Ivy and Raw Power - and Andrew was telling us (that's me, Paul and Ian - of The Williams fame - okay - not fame - but you can dream can't ya?) that you should get some Sly in the collection - but not to go too deep too fast - you know lay off There's Riot Goin' On - until you've experienced the deep funk.

So as any young impressionable youth would do - you purchase the worn out tapes of heavy heavy funk that is that wonderful fug of a funk album. That muddied mix of euphoria and paranoia as screeches and slides collide in a foggy haze and daze of everything that is ultimately funky in Sly's universe. And it's great it made to tape - because There's A Riot Goin' On - is possibly one of the rawest funk excursions you'll ever hear - it's flawed - yet it floors (do you get me?) You couldn't really re-master it - but I think Sly has - that ever-reclusive mutha - so hip that Prince looks up to him (and not just literally) I bought a tape version as well - so when that got heated and mistreated it only added to those takes from inside the studio Sly had created in his Bel Air mansion or The Plant studios in Sausalito, CA. Infact it turns out that Sly had had a bed installed in the studio and simply recorded his takes whilst lying down. It does have to be said - that by this time Sly was managed by gangsters and heavily addicted to the chokey and PCP.  So to even get to the stage where you've got a beautiful dark and muddied album was a miracle - Sly played most of the instruments himself - taping and retaping over and over again. 

There's even the heavy use of a drum machine - used instead of - or because of Gregg Errico's hasty departure from the paranoia fuelled existence of life with Sly and his entourage. This was band playing apart to create a unity -and it wasn't their usual way of working. For 'Family Affair' - the hit from the album - and some of the other tracks on the album, Stone had his industry peers and musicians, including contemporary soul acts Billy Preston, Ike Turner, and Bobby Womack lay down the sounds on Riot, instead of his bandmates. The album's muddy, gritty sound was due in part to this excessive use of overdubbing and erasing parts of the reel-to-reel tapes. In my mind - and I hope Sly's this made the whole thing better.

I don't play enough Family Stone in this family house - there was always something of the late night listen about Sylvester Stewart - but recently I put 'Trip to your Heart' on a CD in the car - all compilation for the kids. And as you can see I'm working backwards  -I'm in and out of that collection - ducking and a weaving - pilthering and pillaging - 'cause Sly started that riot with A Riot (do you get me?)

Which brings me to the inherent psychedelic substance of that song.  It begins like the past incarnation of Gravediggaz - all screams and yelps  - like the beginning of Diary of a Madman - but committed to tape some twenty-five years before.

And here comes the opening - all ayes and yeahs - which LL Cool J would lift as he got his Mama to knock us out. Add Sly to mix and all hell breaks loose and falls apart in this trip to your heart. As it shuffles towards that minor key and Sly's trip to our heart - you can already picture the capes, the jump cuts and mirror images of a video designed to represent the (sign of the) times.

There's always been this madcap - playful think about the Family Stone - up for a bit and ready to take you there. I remember reading somewhere back before the world of Britpop exploded and the Verve were just - you know The Verve - and Richard Ashcroft claiming that 'I want to take Higher' was his song of choice before a night on the town at the weekend.

We should all have a bit of Sly on a Saturday.

So here's some Sly for you too. 

Reformation time [Part One]

My brother and my sister have tickets to see The Stone Roses. They bought them when they were announced. They didn’t buy me one. Now this in itself is no bad thing. When I read in the pages of The Guardian that Ian, Reni, John and Mani [sort of has a ring to it – but it’s no John, Paul, George and Ringo] were calling all the hating off and journalists started writing up fawning pieces on how the late eighties witnessed the coming together of tribes and the roses as the ones who united to save us all through their fusion of funk and fucking attitude.

I started to worry that I wouldn’t recognise the crowd – the feeling in that place. That big open space in Manchester.

Now there are many bands I have not seen – in fact I think I have written about that somewhere on here – but I never had the chance to see the Roses. Emma has. She saw them at Spike Island. This was before we met. And Rob saw them – he told us about them – he’d seen them in Coventry – at the university. All jangles and attitude – saw the light – the second coming [geddit?] But I remember that sudden shift – there’s talk that it was all down to that TOTP Mondays / Roses edition – but that certainly is after the event. Besides the North suffered a temporary blackout on that Thursday back in the late 80s – the signal just stopped and the television went off.

We didn’t see it. I think we went to the pub – instead.

But there was a change a comin’. We wanted to dance [and have some fun] and you couldn’t do that to Lush and MBV. You could shake your head – possibly jump up and down – but you couldn’t dance, dance, dance. The Scream had gotten close with Sonic Flower Groove – they would pretty much rewrite it all with Screamadelica – but this was still in its infancy. The Stone Roses were all swagger and style – seemingly arriving out of nowhere and setting the pace.

It was everything a band should be. A gang. The Stooges and the Family Stone all rolled into one.

There were walk offs, and chart show clips, front covers and interviews – but it seems that good old conversation pushed the Roses into our consciousness. And here they are again – back in the press and we’re talking about them.  I remember a trawl uptown – early days in the city – Lewisham to the last stop – and a wander up Charing Cross road – and there was Mani, Reni and John – carrying a massive boxed ghetto blaster – all cardboard and heaviness – they were the other side of the road – where The Marquee used to be. Taking a breather and looking around for something. And they just looked so different – you eyes were drawn to them. But I was crossing the road – so I looked away – straight into Ian Brown’s eyes – that simple acknowledgement that he was a star but also one of us. A nod – half smile – reciprocated and moved on. The Stone Roses taking up both sides of the road. Totally assured and utterly hip.

Will they be able to it again? I guess they have to – it all ended fairly messy - in missed cues and notes – ramblings and ramifications. I have to be honest – I think I’ve played The Second Coming more than the first long player – it’s got this real heavy groove at the heart of it. Yes, I recognise there’s indulgence but even the build into Breaking into Heaven works – so it’s reminiscent of the opening to Welcome to the Pleasure Dome [Liverpool did it first?] – but the whole long player is done with finesse – all riffs and rolls – building to Love Spreads  - well The Foz actually – but lets say it ends at Track 12 and not Track 90. And in between this band of brothers unite to take this small nation under a groove – from burning south swamp rock and blues – where the devil will give you all the best tunes and through the feral funk of Begging You – with it’s repetitive loops and Hey Bulldog bass lines mixed with a Brown at his in your face Lydon scowling best – into Good Times [my friend]– that shouter of fun , falling into hate and bitterness with How do you Sleep which simply documents the fragility of friendship, of six string relationships and strung out nights –until they ultimately spread some love around.

Which they will again

And all that energy is still there – it took five years to get there through courts and concerts, much like that other reforming troupe – The Beach Boys. Two decades of pills, writs and heartache to be united around the globe in slacks and shirts and Love’s baseball cap – I’m hoping that the Stone Roses will be wearing better gear.

And so it goes

If one band reforms then they all come crawling out the woodwork. Although Shed Seven have seemingly never gone away – nor the Bluetones if I come to think of it. But there’s a reformed Mondays playing the clubs [rocking the pubs] and the Inspirals and even the fucking Farm playing Spartacus ‘in its entirety’. It’s as if we are returning to Thatcher’s E fuelled end of the eighties were nothing much mattered apart from dancing and getting one over the police. Whilst I welcome a roses revival but aren’t going to go to it – and I’m feeling embarrassed at the thought of Love offering fake platitudes to Wilson in concert halls as bank balances burst – but I’ll be sitting in the front row helping that circus along – I’m not sure if a nostalgia filled landscape of musical highs from our youth and our parents youth will help this ‘pop’ thing along.

I hope that it inspires some youth to think that all of this is from an another era – its Jurassic – you know Dinosaurs and all that – like it did the three Johns from Kilburn. I hope it does – like the landscape at the time of the Roses when being a fully-fledged star was seen as somewhat arrogant and certainly not in keeping with the independent tradition. 

Sometimes you can be in the right place at the right time.

I hope that field in Manchester will be it this Summer. The past was theirs and now the future’s ours – or something like that. 

When it became embarrassing to talk of Funk

I am a heavy admirer of the super heavyweight sounds of the US funk scene – but somewhere over the years it became a cliché. A north London DJ route that’s all open sandwiches and jazz bars. I blame ACID JAZZ – I shouldn’t I know - but the whole music got wrapped in a soul boy styling when we should have just been sharing the tunes not trying to dig so deep in the crates that every record played was a one-off – a unique slice of soul that no one had heard but made you hip because it was rare – man – really rare.

I‘ll tell you what’s rare – Polar bears they’re rare.

Anyway, I once was a deejay – for a night sometimes – not as a career choice – dropping 45s of funk as we warmed up a room ready to go wild for the drum and bass – right in tha face at the end of an evening. And those nights were fuelled with our chemical beats for all those speed freak – northern soul stompers making way for the hardcore partiers in tha house. I loved finding a funk 45 that had been sampled and dropping those tunes – the essence of the hip hop scene – distilled in a bass line and a drum break that would make you stop in your tracks [which of course is ironic given we were playing tunes to make you dance]

And clearly I spent many years safe in the notion that I had the funk. But somewhere amidst the James Brown hollers and the loose booty of the family stone a barrier was built. So I’m trying to figure this out. You see I was trying to make a compilation the other day/ night and I’m the selector – so it’s about my choices – I control the flow – ya’ know – but I take a walk in the park and right by the Johnny Pate selection, WAR don’t get a look in, I’ve got reasons for not selecting Mary Jane Hooper and I’m [Humpty] dumping the Vibrettes.

Why is this?

It’s not that I don’t like the songs – it’s as if something has crept in beside it and sullied it and part of me feels it was the sudden rush to funk up the 90s and the noughties that killed it for me. Throughout those youthful years – before wrinkles and weight would make me weary – I would happen across a gem – a diamond – a belter of a tune. In a car boot cardboard box [Slaughter’s Big Rip Off soundtrack by James Brown for 50p], or stall in Greenwich [Richard and I carving out the cash to purchase Me and Baby Brother by WAR for four pound] or in a handful of scuffed and scratched records in SCOPE on the high street [Memphis Soul Stew on an Atlantic 4 track ep] or PDSA near Sainsbury’s in Beeston [that’s Nottingham folks - where I would purchase funk delight after funk delight as animal lovers offloaded vinyl by the cartload]

Mixed in with these finds would be the scraps of information picked up in reviews, interviews, or conversations with older folks, hip hop headz and soul boys. Scouring the sample clearance information on Three Feet High and Rising to see where that Potholes beat came from – which of course is the mighty Eric Burdon & War’s Magic Mountain – listen for yourself at whosampled.com – it’s easier now to find this and that.

No one was taping their records for the internet generation. Not that I’m against it – it’s wonderful to tap right in – drill on down to the sounds that inspire the underground that go overground for us all.

But the funk scraps we were fed were tantalising. I remember a wonderful friend of mine’s brother – Carl he was called, a true funk and soul aficionado – crafting columns for Blues and Soul, starting up his own magazine and building up a collection that rivalled any North London wannabe – this was real NORTHERN soul – brother. And he gave me a box of records – stuff he wasn’t hip to – for a small fee – early Mo’Wax, compilations, Acid Jazz, Grant Green and Mick Talbot’s solo album. But there on side two of a nondescript funk album was Jimmy James’ Root Down – soon to be sampled by The Beastie Boys – this huge ever pulsating tune from the centre of the Funkiverse – building from bass through drum roll and organ swipes – setting the funk up for the day ahead. I lived with these tunes – the market find of Black Ceasar in the Loire Valley while we camped – the Quest sample album picked up in Selectadisc on the way home from work – or the random 7inch from The Five Stairsteps [ok – I know it’s soul – but it’s a little funky – their bassist used to hang with the family stone – you’re bound to let that rub off on the fretboard] thrust into my hand by the owner of a lovely yet incredible messy store on Lee High Road [that’s Lewisham folks]

Mixed with that came tales of legendary films with Dolemite and Coffey Brown – or watching The Mack on video through a find from Chris – Carl’s brother and all round wonderful bloke – lost touch with him but fondly remembered in these parts - discovered in a discounted bin in a shop in Ridings [that’s Scunthorpe folks].

So what changed?

As I said I think the ubiquitous use by advertisers to sell us the carnal and exotic became demeaning – divorced the fury from the funk and rendered it solid – commodified through hot pants, knee socks and bubble blowing girls – forgetting the struggles that funk had endured. Rendered in vibrant colours to represent that 70s swing – they were burning records back then – they were burning lots of things back then – including the cross. And now it’s a photoshopped urban image with a day-glo vibe shifting tunes that spoke volumes about circumstance and opportunity. Check the Chi-Lites For God's Sake Give More Power To The People for want of anthem about being oppressed and depressed. But those off the peg fancy dress – let’s ridicule a style – appropriate the hate and laugh at the threads of sub cultures fighting for a corner kind of made me wary of the whole thang. Whilst Tarantino told us how hip he was in his blatant ripping off of film making by directors who were never given a chance with mainstream audiences.

Somewhere in all of that – I stopped listening and starting skipping the tunes.

It is not funk’s fault that it got sold out. I should stop being embarrassed and remember to listen more because when the bass and guitar and breaks connect – it makes me want to dance. And I have always loved dancing – you can’t do that to Brian Eno’s Music for Airports – you can do it to The Meters.