Here is another indie '80s soul record to file in the M.J. impersonator section along with Alfonzo and Michael Sterling. Timothy Marrow's self released Killer Moon sounds like it was recorded in an afternoon with a borrowed synth and drum machine. Every little mistake and looseness in the meandering bass line is captured in its full glory over a basic drum loop. Timothy's vocals tread dangerously close to copying the flow of Billie Jean. A recipe for a killer track if I've ever heard one.
Here is a later era downtempo lazer soul track released by the short lived New York Music Company in 1985. Vocalist Bernice Frazier delivers an outstanding performance here with her first recording. This tune was produced by Mitch Ervin AKA Mitch Race who also had tracks on the legendary 25 West Records. I love the minimal production with 808 drums, Juno 106 bass, and DX-7. Mitch discusses the details of his productions on his youtube page, check it out and drop him a comment if you appreciate his work.
The most difficult part about getting a good rip is having a clean record. Using a $500 cartridge to clear out the grooves is endlessly frustrating. I have had most of the parts to assemble this record cleaning machine for over a year. I had procrastinated building a vacuum attachment like this; but found the perfect solution at the hardware store when I was looking for something else.
Here is what you need:
Shop Vac (this one is 3HP) Shop Vac detail brush kit Turntable Dry Brush Nitty Gritty Wet Brush Record Clamp (optional) Record washing fluid (make your own like I do or buy it)
There is a record washing fluid recipe in the link. I have access to a lab, so I am able to buy reagent grade water and isoproponol. I bought the surfactant from a photo supply place online.
Here is a cool rare lazer soul record I picked up in Denver. It is from Detroit and was released in 1988. It sounds more like 1984. I love the synth work and the production. Almost ever track is good on this LP and there is even a slow jam that makes me a little frisky.
A really sick 7 inch featured here from Pittsburgh, PA unit The Assignment. Released in '87, Jammin' to the Beat was the groups first release and quite notable as it so nicely bridged the gap between lo fi boogie and late 80's electric funk. The band released a few more singles and experienced regional notoriety but never quite broke through on the national stage. If you want to dig a little deeper on The Assignment, I found a pretty sweet bio page with some lo-res scans of the band (featuring members Chill Bill, Fly Ty and Cookie) in full Prince-esque splendor. The Assignment - Jammin' To The Beat The Assignment - Keep Jammin' To The Beat
This lazer soul jam was released in 1985 on Genius Records, a Macola subsidiary. This track was born in the days of ultra slick modern soul production. It could have done without the guitar solo, but nevertheless, it would be a good track for a good old fashioned dance off.
This track led to Jimmy Jam and Terry Lewis getting kicked out of The Time. The two band mates produced this record while on a brief hiatus when they were in Prince's group The Time. After this recording session, they got stuck in a blizzard and were stranded in Atlanta; unable to meet the band for their next tour date. Prince fired them. The subsequent success of this record launched their long production career.
Jimmy Jam and Terry Lewis had an amazing ability take an act that had disappeared into mediocrity and mold into a powerful force. The duo rescued the S.O.S. band from workout disco obscurity when they penned this jam that was released on Tabu in 1983. This track is the epitome of their lazer soul sound that went on change the face of R&B into the late 80's. The S.O.S. Band - Just Be Good To Me (Long Version)
This was Lisa Lisa and Cult Jam with Full Force's first record and was released in 1984. It was released on a European label as a single and was featured on the compilation album Breakdancing. In 1985, their first full length came out and it was a big success. LL&CG along with production by Full Force was a winning combination and led to the team dominating pop radio throughout the 80's.
Here are are nice pair of lazer soul tracks by the modern soul group Khemisty that hailed out of Washington DC. Band members Marie Council, Shirl Hayes, Kimus Knight put out a couple of rare 12 inches and a well sought after LP that BT Magnum picked up at a thrift store recently. Each of these tracks have an entirely different feel from one another. I Can't Win For Losing has a really killer synth line and an infectious modern sound that makes you want to do a Kevin Baconesque bicycle dance routine. Khemistry - I Got A Feeling 12" Khemistry - I Can't Win For Losing 12"
Side On was a British band that put out only one release. The record came out on Beggars Banquet in 1982. This tune has a lot of charm. It has a boogie meets synthpop sound and a positive vibe that makes for a winning combination. The project was produced by band members Peter Maas and Everton McCalla and the tracks were written by Peter Maas and Derek Clark.
Nytro was a group that was produced by Norman Whitfield and put out two LPs on his label Whitfield Records. This track come from the 1979 followup to their 1977 self titled LP. Norman Whitfield produced tracks for Motown in the 60's and turned out hits for The Temptations and Marvin Gaye. In the 70's he produced for acts such as Rose Royce, The Undisputed Truth, and Starguard. Nytro had a funky macho lazer soul sound that paved the way for acts like Zapp, D-Train, and Midnight Star.
This is a private label lazer soul jam from Florida. Larry Davis produced this record in 1986 along with some Miami booty bass hits in the mid to late 80's. It is in the vein of the acts Expose', The Jets, and Starpoint. It is a cute and crusty jam. This is definitely a tune that requires some skills on the dance floor. It is interesting to note that this is probably the loudest 12" I have ever heard and it is also the thinnest. The run out goove says "Hi Larry, I think you + Jaqui made it!" They sure did! Jaqui & The Rumor - Just Don't Break-A-My Heart (Inst.)
In the dawn of the 80's the sound and culture of dance music shifted much as it had in the mid 70's. Just as disco grew out of funk, boogie morphed out of the disco sound. Boogie really was the perfect blend of the two genres. Much like disco it was more oriented towards the dancefloor and like funk it was a touch more raw and soulful. 1982 was the year it all gained cohesion, the pinnacle of dance music. This track is a prime example of Boogie's sublime evolution.
The brainchild of producer/songwriter Donald "Dee Dee" Burnside, First Love were a 4 piece female vocal group formed in 1979. The group released their first single on Dakar in 1980 and switched over to the tiny CBS sub label Chycago International Music for 1981's excellent "It's a Mystery to Me". "Party Lights" would follow in '82 and prove to be the group's finest lazer soul entry. The reverb drenched vocals sit nicely over the gated snare hits, wicked synth lines and an out of order guitar break. I included an edit by Liquid Pegasus. Obviously he had a lot of strong material to work with, but he manages to make an edit thats pretty enjoyable to listen to on its own accord.
We have covered the work of Leroy Burgess and Greg Carmichaelhere at Beat Electric several times now and of course for very good reason. Everything these gentlemen touched turned to solid gold. Logg, which also featured Burgess's cousin Sonny T. Davenport, was probably my favorite of their endeavors. Released on the Salsoul label in 1981, "I Know You Will" (thanks in part to a stellar mix by Larry Levan) is a very heavy lazer soul joint. As respective pioneers of the disco sound with Black Ivory and Bumblebee Unlimited in the 70's, Burgess and Carmichael were obviously on the forefront of the boogie tip as well with this cut. The increasingly rare and pricey Logg LP has quite a few more jams on it, but we will have to share those with you further on down the line. Logg - I Know You Will (Larry Levan Mix)
Starpoint was one of the greatest lazer soul bands to grace the 80's with their jams. They were originally called Licyndiana, which is not pronounceable because it is a acronym of the band members' names. They have a similar sound to that of Aurra and hail from Maryland. With the late Renee Diggs' amazing voice and Ernesto and George Phillips' thick pipes, their songs are filled with emotion. Kayode Adeyemo and Ernesto Philips co-wrote much of the songs. The funky synth work and disco guitar are standard fare. They put out records from 1980 till 1990. Kayode went on to write Milli Vanilli's hit, Girl You Know It's True.
I recently found Kayode online and he says, "This is the song that got it all started back in 1980!"
This is a quick lazer soul mix for you to listen to while you jump start you weekend. It is only a half an hour long, so you can listen to it while you are picking out which cowboy hat you want to wear tonight. The Colonel is more proto house than lazer soul, but it is one of my all time favorite tracks and fits with all the machismo in this mix.
1. Simplicious - Let Her Feel It 2. "D" Train - You're The One For Me (Instrumental) 3. The Gap Band - Early In The Morning (long Version) 4. Dazz Band - Let It All Blow (Long Version) 5. Colonel Abrams - How Soon We Forget (Extended Version) 6. Lakeside - Make My Day
Chocolate Milk is kind of a wimpy name for these tough looking dudes. This track is part of our ongoing collection of tunes that reference video game culture. The track, from 1981 is pretty interesting because has a very modern lazer soul sound mixed with rock guitar and vocals that are similar to hip hop records from the time with a little Rick James for spice. There are a lot of fun spacey sounds that reflect the video games of the era.
Shalamar were originally a studio session project formed by Soul Train talent booker Dick Griffey and producer Simon Soussan. Best known for the hit single "Second Time Around" the band eventually solidified into a three piece lineup which featured vocalist Jody Watley. Watley went on to have a very successful solo career in the late 80's and early 90's. In my opinion, Shalamar didn't have very many jams in their catalog, but "Right in the Socket" is not only a disco classic, it is a fine example of early Lazer Soul. The track is also a great DJ tool with its long intro and killer percussion breakdowns. No wonder it was known to be one of Larry Levan's all time favorites. This is my kind of Love Song:
Lakeside originally hailed from Dayton, Ohio and were considered one of the best live disco/funk acts of the era. The 9 piece band formed as The Young Underground in 1969 and while living in Chicago were for a time signed to Curtom Records. The band changed their name to Lakeside, relocated to LA in the late 70's and signed to The Sound of Los Angeles Records. They scored their biggest hit in 1981 with the ubiquitous "Fantastic Voyage". Sometimes they even went to the trouble of playing their live shows in a pirate ship:
Enough about "Fantastic Voyage" My favorite Jam was "We Want You on The Floor". The track didn't go very far as a single, but was a wonderful addition to a sound our man LeBaron coined as "Lazer Soul" For another reference to this genre see the Beat Electric entry for BT Express "Taking Off". The land of funk:
B.T. Express was an important funk disco group that had a few hits in the 70's. Their biggest single was Do It (Till You're Satisfied) which hit #2 on the Billboard Hot 100 in 1974. Their sound throughout the 70's threw a deep and groovy vibe. In 1980 they created an album that reflected a new era. They were on a quest to bring the world the future of boogie. That album was 1980 and it featured a jacket with the B.T Express spaceship on the front. The grooves are very polished and upbeat. The album is also loaded with tight production, synthesizers, and spacey electronic sounds. Their single from the album was Give Up The Funk (Let's Dance), but it doesn't really reflect the direction they were taking as much as the track Takin' Off. My apologies that this was ripped from a well loved copy of the album.
Long ago, before Ray Parker Jr. met the Ghostbusters, he was in Detroit making some incredible disco funk and writing hit songs for many 70's groups. This track has such an incredible stomp and perfectly executed vocal that it is hard to imagine that it wasn't one of his hits. It is more apparent on the hit from the LP (For Those Who Like To Groove) that the album got some help on the keys from funkmaster Herbie Hancock. AAC: It's Time to Party Now
