Interviews

Club Sashay - Leon Ware

For me, this is the ultimate portrayal of after-party luxury. Ware's never-ending movement across the keys is only deepened by the contours of Marcos Valle's Brazilian aesthetic, creating the ideal frame for the great arranger Gene Page to drape his opulent, no-expense-spared orchestration all over it. It always makes me want to -Swish my silver chiffon skirt” as the backing vocals command (not that I have one).

Tô Que Tô - Simone

I love Brazilian singer Simone's irreverence when she sings “I Am What I Am”. Master musician David Foster supports her on the Rhodes, along with the best of L.A. '82. The band is sounding as tight as anything by EWF, inspiring all party people to say we are what we are, AND if you don't like this one you can “cade meu advogado” ...call my lawyer!

Family - Hubert Laws

Flautist Hubert Laws' dreamy intro makes way for the seriousness of spitting trumpets and staccato bass, and rightly so. I have to agree with Laws and his sister Debra Laws when they state - in the funkiest way possible - their case for the importance of family and friends over materialism: “Cos happiness depends on people”.

Now That I Have You - McGee

Is the snare too loud on this slice of 1984 boogie? No! What attracts me to this tune is the contrast of the unapologetic drum machine against the lush string and flute overdubs. Tommy McGee’s voice floats effortlessly over the programmed groove resulting in an unusually lavish and danceable production for the era.

Remind Me - Candy McKenzie

Obviously Patrice Rushen is the epicentre of refined sophistication, but Candy McKenzie’s cover of Rushen’s classic Remind Me reminds me that things don’t always have to be immaculate when it comes to bringing the vibe. The bass is rocking and the harmonies are ringing out. It’s total heaven.

On A Crowded Street - Barbara Pennington - 12" extended version

The joy of finding connection in dense metropolitan life is something I think most people can identify with. Barbra Pennington beautifully tells our story while the 1950s bah-bee-doo-bap vocals meet the funk of the Yamaha DX7 synthesiser. Sweet enough for the dramatic irony of a Scorsese film, it’s pure decade-blending euphoria.

Step Inside The Music - Gus Pirelli & Andre Espeut

Andre & I wrote this song in direct homage to all the classic songs that have music as their sole focus. The Sound of Music by Dayton being just one of many examples. No double meanings here, just a straight forward love of music. The tone is imperative, because we don’t really get to choose this life, do we?

Love Rhythm - The Bobbettes

Right out of the gate the drums, bass and phasey percussion on this slinky track from 1981 let you know they mean business. The relentless groove underpins the legendary harlem girl group’s call and response. Emma Pought’s lead vocal has the perfect balance of husk, authority and sexiness to tell every one what time it is.

Come Into Me - M' Lady

As the band’s regal-sounding name would suggest, courtesy is the name of the game - which I respect. In the song Come Into Me they handle a risqué topic with incredible deftness. The rhythm section’s optimistic bounce whisks you through the verse and bridge, so that by the time the piano begins its anticipatory glissando it’s already too late. You will have crossed the threshold & surrendered yourself up to the irresistable chorus.

Love You Down - Leroy Hutson

It’s 1982 and digital room simulating reverbs are IN. Leroy Hutson’s sensual vocal on this track is kept uptempo and danceable thanks to a metronomic kick and snare. The synth bass, pads and leads have freedom to dance and play in that beautiful, grainy artificial space. No acoustic instruments here, yet endless human feel.