Kelis, Al Jarreau And ‘Blurred Lines’: Does Pharrell Have Form?

KelisSo it’s official – Pharrell Williams and Robin Thicke ripped off Marvellous Marvin’s ‘Got To Give It Up‘ when they wrote ‘Blurred Lines‘ in just one hour (though Thicke denies having any input into the writing of the song).

And The Guardian reports that Pharrell’s ‘Happy‘ may now be in the Gaye family’s sights too due to its alleged similarity to ‘Ain’t That Peculiar‘.

Trumpet player, composer and blogger Nicholas Payton has written eloquently and passionately about the whys and wherefores of the ‘Blurred Lines’ case here. I won’t go into whether I think that verdict is just; suffice it to say that I dig what Mr Payton says, right down the line.

But what’s interesting is that Pharrell seems to have previous. Let’s investigate the track ‘Roller Rink’ from Kelis’s great 1999 album Kaleidoscope which, according to the credits, Pharrell co-wrote with Chad Hugo and Kelis.

Now compare that with ‘No Ordinary Love’, credited to Michael Gregory Jackson, which features on Gregory Jackson’s 1983 album Situation X and also Al Jarreau’s L Is For Lover from 1986, both produced by Nile Rodgers:

Weird. Kelis/Pharrell/Chad haven’t even bothered to change key. They’ve just ‘replayed’ Gregory Jackson’s original with a slightly different arrangement. Their version comes up with a better melody in the verses though the chorus melody just uses the catchy little synth motif from both Gregory Jackson and Jarreau versions.

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Michael Gregory Jackson circa 1983

Michael Gregory Jackson started out as a first-call guitarist in the New York avant-garde jazz scene in the mid-’70s. Later in the decade, he reinvented himself as a singer-songwriter and did a pretty job of it, his 1987 solo album What To Where getting rave reviews in Q Magazine and a few other influential rags at the time. But commercial success eluded him.

Regarding ‘Roller Rink’/’No Ordinary Love’, maybe Gregory Jackson was just easy to push over. After all, he’s jazz. Maybe they did settle out of court. But you’d think at least a songwriting credit might be in order. I wonder how much income Gregory Jackson has lost out on, even though Kaleidoscope wasn’t a huge hit album and ‘Roller Rink’ wasn’t a single.

I haven’t checked to see if subsequent versions of the CD have different credits but my 1999 Kaleidoscope CD credits state that the track was ‘written by K Rogers/P Williams/C Hugo’ with no mention of sample permissions etc. The album’s Wikipedia page says the same thing.

About eight years ago, I made some routine enquiries to Virgin Publishing but didn’t get anywhere. Anyway, it’s only music, there are only 12 notes, etc etc. But who knows what other examples are out there? I’ll be listening closely in the future to Neptunes tracks and Pharrell solo tracks, co-productions and co-writes, many of which I’m unfamiliar with at this point.

The Bebop Roy Buchanan: Mike Stern’s Upside Downside

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Atlantic Records, released summer 1986

Bought: HMV Megastore, Oxford Street, 1988?

9/10

There’s no telling how a jazz musician will react to a bad review, whether from a critic or fellow player. Some, like Miles Davis, take a – how shall we put it – stoic view, either refusing to read any press or choosing his writer friends very carefully (Leonard Feather, Quincy Troupe).

But for every naysayer, there’s an aggressor; drum master Tony Williams laid into jazz scribe Stanley Crouch for his less-than-flattering comments on Miles’ electric-era music, while Weather Report famously took Downbeat magazine to task for its one-star slagging of 1978 classic Mr Gone.

Though guitarist Mike Stern had studied at the famous Berklee music school in the mid-‘70s and then landed a top gig with jazz/pop supergroup Blood Sweat & Tears, he wasn’t prepared for bandmate Jaco Pastorius’s succinct review of his guitar playing after a dodgy run through Chick Corea’s ‘Spain’ on tour with BS&T one night – ‘Stern, you know that shit wasn’t happening at all! You’ve got to learn faster tempos!’

Jaco and Mike, 1980

Jaco and Mike, 1980

To his great credit, Stern listened to his friend, learnt the tune note by note and in the process became one of the greatest players of his generation. His slick bebop lines played with a ‘rock’ sound were quite new when he came of age playing with Billy Cobham’s band.

Miles was also listening closely while he was in the early stages of putting together his ‘comeback’ band in early 1981. The story goes that he appeared in the front row of The Bottom Line club in New York City and poached Stern during a set-break, apparently even calling Cobham off the bandstand in the middle of a tune to issue his intentions!

Stern was then summoned to the Columbia Records studio to record the electrifying half-time strut ‘Fat Time’ (Miles’s nickname for Stern) in one take. The track appeared on the Man With The Horn album and Stern was then invited to go out on the road with Miles.

My dad took me to see Miles at the Hammersmith Odeon in 1982, my first proper gig. I’m sad to say that I don’t recall much about it apart from Miles’s white suit and a heckler shouting: ‘Turn the trumpet up!’

Dave Liebman, Miles and Mike Stern, 1981. Photo by Julie Coryell

Dave Liebman, Miles and Mike Stern, 1981. Photo by Julie Coryell

Critics were harsh on Stern, not believing that a chubby, jeans-wearing, long-haired guy playing a white Strat with a fuzzbox could play ‘jazz’, but with hindsight he did a brilliant job of holding down the harmony and delivering powerful, surprising solos in the keyboard-less quintet.

But the demons that haunted some of his early career wouldn’t go away. Stern recently said, ‘I played about two gigs in my life between the ages of 12 and 32 when I was sober’. Miles even got John Scofield into the band as second guitarist to cover for his increasingly unreliable secret weapon. Stern eventually missed a flight and got the boot, but after a successful spell in rehab returned to play with old friend Michael Brecker and Mike Mainieri’s fusion supergroup Steps Ahead.

Stern also put together a solo record deal with Atlantic Records and began working on Upside Downside in early 1986 with his late friend and fellow shit-hot guitarist Hiram Bullock in the producer’s chair.

The album is a great excuse for Stern to play the hell out his guitar in a variety of idioms. The uptempo tracks are blessed with typically fiery solos while the ballads beautifully demonstrate Stern’s lyrical side, his Telecaster screaming emotively above Dave Weckl’s subtle drumming and Mark Egan’s springy bass.

Jaco completists will enjoy one of his very last recorded contributions on the raucous ‘Mood Swings’ while saxophonist David Sanborn’s playing on ‘Goodbye Again’ is spine-tingling. But mainly the album is a must for any lover of the guitar. His sound is a little more fluid and widescreen than on recent albums and there’s no-one quite like Stern at the top of his game, a fusion of Charlie Parker and Roy Buchanan.

mike sternMike made two excellent follow-up albums later in the ’80s, Time In Place and Jigsaw, both produced by the fine guitarist Steve Khan. For me, this was Stern’s best era, when his raunchy playing was closer to blues and rock than the lighter Methenyesque jazz and World music vibes of recent times. I saw him at the Town and Country Club in 1989, a memorable gig featuring the mind-blowing Dennis Chambers on drums.

Mike’s career thrives to this day – he’s just released a duet record with Eric Johnson. Let’s be thankful he’s still with us. Many fellow travellers didn’t make it.

How To Sidestep Second-Album Syndrome: Danny Wilson’s Bebop Moptop

danny wilsonVirgin Records, released 17th July 1989

Bought: Our Price Richmond 1989

8/10

Summer 1989. It seemed constantly hot and sunny. Change was in the air. A new decade beckoned. De La Soul, acid house, Madchester, Kylie/Jason/Bros and New Kids On The Block were in. School was out…forever. Sixth-form college beckoned – but not yet. There was tennis to be played, Thunderbird wine to be drunk and music to be bought/played.

I was listening to Stevie Wonder’s Talking Book, Prince’s Batman and Sly Stone’s Fresh. And Bebop Moptop, Danny’s underrated second album. Apparently they turned down a few big-name US producers to helm the album themselves, and some might say they could have done with a slightly tighter quality control check. But for my money this more than justifies the potential of the debut.

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‘Imaginary Girl’, ‘Loneliness’ and ‘The Ballad of Shirley MacLaine‘ are dramatic torch songs taking Sinatra as their starting point, while ‘Never Gonna Be The Same’, ‘If Everything You Said Was True’ and ‘Goodbye Shanty Town‘ are superb updates of the Steely style, the latter even throwing in some great ‘New Frontier‘ sequenced synths.

‘If You Really Love Me Let Me Go’ beautifully captures the subtlety and craft in their method; check out the passing piano chords that enjoin the various sections, livening up what could easily be a humdrum progression in another band’s hands.

The heavy lead guitar and slithering synth bass of ‘Charlie Biz’ suggest the lads had been listening to Prince‘s Lovesexy.  ‘Second Summer Of Love‘ is a super-catchy, throwaway folk pastiche, and the only hit from the album, reaching UK number 23. Slightly less successful are ‘I Can’t Wait’ and the shambolic ‘NYC Shanty’, but no matter; they can’t stop this from being a first-class album with songs that are built to last.

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Although Bebop Moptop reached number 24 in the UK album charts and sold more than the debut album, the lads went their separate ways after the promotion work was done and a few live dates undertaken. I saw them at the London Town And Country Club in autumn 1989 where their lavish, no-expense-spared backing band superbly recreated almost every nuance of the albums.

Gary Clark resurfaced four years later with a fine solo album Ten Short Songs About Love, which could almost be viewed as Danny album number three as it featured sizeable contributions from both Kit Clark and bassist Ged Grimes (currently the bassist for Simple Minds).

But Bebop Moptop rounded off my ’80s in a very classy way.

Goodbye Danny Wilson – for now…