The Redskins: Bring It Down

I first heard The Redskins’ ‘Bring It Down (This Insane Thing)’ circa 1985 on ‘The Max Headroom Show’, but, beyond clocking Alexei Sayle’s performance in the video, I didn’t know what to make of it at the time. It didn’t help that Max was speaking in tongues all over it.

Listening back to the song recently, I was seriously impressed. There are shades of early ’80s punk/funk: Gang Of Four, 23 Skidoo, A Certain Ratio, plus a bit of Dexys/Jo Boxers, and there’s also a superb horn arrangement in a great (or not-so-great, depending on your predilection for horn sections) period for horn sections.

The lyrics seem fairly revelant in a post-Grenfell world (well, they’re probably a bit better than ‘Oh-Jeremy-Corbyn’…) and feature somewhat of a classic first line, parodying Prime Minister Harold Macmillan’s famous 1957 speech: ‘You’ve never had it so good/The favourite phrase of those who’ve always had it better…’

The band’s break-up as announced in the NME – click to enlarge

The band are a solid, funky little unit and I like singer Chris Dean’s chuckling Melle Mel homage and general swagger – it’s a classic ’80s vocal performance. Their Wikipedia entry says that The Style Council’s Steve White plays drums on this but it doesn’t particularly sound like him.

The Redskins burned fairly brightly for four years, starting out as an NME-approved indie act and then graduating to a major-label deal in the classic ’80s style. They split up after their Anti-Apartheid tour of 1986. ‘Bring It Down’ was their one and only UK top 40 single – a fairly poor return when such blue-eyed-soul inanities like The Blow Monkeys’ ‘It Doesn’t Have To Be This Way’ were just around the corner.

Where are they now? Who knows? No reunion. No sell-out. One near-hit.

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Book Review: Life And Death On The New York Dance Floor by Tim Lawrence

No less a pop personage than Brian Eno called the early 1980s ‘the most exciting era of New York music’, and he should know a thing or two about the subject. Tim Lawrence’s excellent ‘Life And Death On The New York Dance Floor 1980-1983’ makes a good case for Eno’s claim.

The book traces the many musical and cultural strands of the early ’80s NYC scene, from the ‘Disco Sucks’ movement which briefly blossomed at the beginning of the decade through to the end-of-an-era AIDS panic of late ’83.

Lawrence vividly brings to life a scene where musicians, DJs, dancers, artists and club owners fused new-wave, no-wave, punk, dub, pop-art, Afro-funk, kitsch, S&M, psychedelia, disco, gospel, electro and hip-hop to create an exciting, vibrant, anything-goes aesthetic. Along the way, the book also looks at the making of some of the key NYC records of the era – ‘The Message‘, ‘Rapture‘, ‘Moody‘, ‘Blue Monday’, ‘Planet Rock’.

Pretty much all the key players of the scene make memorable appearances, a fascinating roll call including Larry Levan, David Byrne, Madonna, Afrika Bambaataa, Fab 5 Freddy, Sylvia Robinson, Keith Haring, Jean-Michel Basquiat, Kool Herc, Arthur Baker, Melle Mel, Grandmaster Flash, Francois Kevorkian, Don Was and James Chance.

Grandmaster Flash and the Furious Five

Lawrence also paints a vivid picture of the diverse dancefloors of The Roxy, Danceteria, Paradise Garage, Mudd Club and Canal Zone, where on any given night you could see people doing martial arts moves, magic tricks or even aerobics (yes, apparently early ’80s NY also foresaw that cultural boom which hit big later in the decade). Many rare and previously unpublished photos are included, and Lawrence also gets his hands on many interesting artefacts from the era such as Kraftwerk and Bambaataa full DJ setlists from The Ritz in 1981.

But all good things must come to an end, and ‘Life And Death On The New York Dance Floor’ doesn’t scrimp on the full details of how Reaganomics, gentrification, corporate intrusion and the spread of AIDS decimated the scene. The book is a great achievement by Lawrence, with a level of detail and seriousness befitting a Professor of Cultural Studies but also large doses of fun and gossip befitting a good-time era and its fascinating protagonists.

‘Life And Death On The New York Dance Floor 1980-1983’ is published by Duke University Press.

Women And Rhythm Section First: An Interview With Keith Leblanc

keith leblanc

Keith Leblanc

When late, great bass hero Jaco Pastorius was asked about his philosophy of music, he had a stock response – ‘Women and rhythm section first!’

In the world of black music, whether jazz, funk, R’n’B or soul, the hookup between the drummer and bass player has always been pivotal. As the cliché goes, a band is only as good as its engine room.

In jazz, you can’t do much better than Tony Williams with Ron Carter or Philly Joe Jones with Paul Chambers. In funk, you can’t go wrong with Benny Benjamin with James Jamerson or Clyde Stubblefield with Bootsy. In fusion, you know it’s going to work if Dave Weckl/John Patitucci or Steve Jordan/Anthony Jackson are taking care of business.

But interestingly, possibly the most heralded rhythm section in recent black music hasn’t come out of jazz, funk or soul music (though these undoubtedly went into the mix), but rather hip-hop. Drummer Keith Leblanc hooked up with bassist Doug Wimbish and guitarist Skip McDonald when they were summoned to work on the label set up by industry veterans Sylvia and Mickey Robinson to showcase the new hip-hop artists emerging from the Bronx and Brooklyn in the mid-’70s.

Just prior to that, Keith had briefly worked with Doug and Skip in the funk band Wood, Brass and Steel but when The Sugar Hill Gang’s controversial ‘Rapper’s Delight’ became a monster hit in ’79, the Robinsons were on the lookout for a house band to lay down the foundations for the follow-up.

sugar hill records

It seems the call was inevitable, according to Keith, speaking crisply and candidly down the line from his home in Connecticut: ‘Sylvia was looking for Skip and Doug but they initially said no because they’d had a bad experience with her before. But I was new to the band and when I heard the words “recording studio” and “money”, I bugged them until they said yes! And the day we all went up there, we started recording. I didn’t want to know about the business, I just wanted to record.’

The slick, dynamic fusion of funk, rock and jazz laid down by Leblanc, Wimbish and McDonald proved just the ticket for Sylvia and they were in. But in those very early days of hip-hop, the money was tight although luckily for Keith the musicianship was too. ‘I was brought up with James Brown, Muscle Shoals, Parliament/Funkadelic, Gap Band and Cameo, so playing the rap stuff wasn’t much of a stretch from what we were already doing. But the first Sugar Hill Gang album was recorded in the Robinsons’ studio which was falling to bits.’

They moved to the slightly more lugubrious surroundings of H&L Studios in Englewood Cliffs, New Jersey (also home to Rudy Van Gelder’s famous studio where so many classic Blue Note albums were recorded), and so began a golden period of recording characterised by great performances captured sometimes under great duress in the studio. Extended jams like Funky Four Plus One’s ‘That’s The Joint’, The Sequence’s ‘And You Know That’ and Grandmaster Flash and the Furious Five’s ‘Freedom’ featured jazzy horn charts, challenging stop-and-go arrangements and extended solo sections that had more in common with Duke Ellington or Cab Calloway than Eminem and Jay-Z.

These tracks were not piecemeal studio confections; according to Keith, ‘Back then, playing live in the studio was normal. The arranger Clifton “Jiggs” Chase would get with the rappers and do an arrangement based on what they wanted to use and then make up a chart. Then we’d add things. The musical ethic was really good at that time. You had to get it right or there’d be someone else in there recording the next day.’ The work ethic was almost comparable to the famous Motown production line: ‘We’d cut a track on the Friday, drive home to Connecticut, drive back to New Jersey on the Monday and hear the track on the radio.’

In the time-honoured hip-hop tradition, sometimes sections from other records were ‘replayed’ to give tracks an air of familiarity, most notoriously on the Sugar Hill Gang’s ‘Rapper’s Delight’ which stole Chic’s ‘Good Times’ groove lock, stock and barrel. But this just provided yet another irresistible musical challenge to the young Leblanc: ‘Alot of the time, we were playing maybe a bar of someone else’s music. So we wanted to cut it better than the original!’

But then came the second seismic shift in hip-hop’s history – the release of ‘Planet Rock’, Afrika Bambaataa seminal track which was the first rap tune to properly utilise newly-affordable drum machines and sequencers. And for Keith, it was both a blessing and curse: ‘When the drum machine first came out, I saw my job opportunities flying out of the window! Now anybody could make a rap record in their bedroom. But then it dawned on me that I could program a drum machine better than any engineer. I did “No Sell Out” just to see what I could do with the technology.’

Featuring a mash-up of Leblanc’s apocalyptic beats and segments of Malcolm X’s oration, the track led to many more intriguing fusions of man and machine in his recorded output and also prefigured the Tackhead project which teamed up Leblanc, Wimbish and McDonald with London dub mixologist Adrian Sherwood to thrilling effect.

Sadly, the Sugar Hill story wouldn’t be complete without reporting its demise – in less than honourable circumstances, according to Leblanc – with lots of law suits, claims and counter claims. But much of the music stands the test of time, particularly the extended jams of the ’80/’81 period which suggested a thrilling fusion of Duke Ellington, George Clinton and Trouble Funk.

Leblanc has continued to work with Doug Wimbish and Skip McDonald regularly over the years in projects such as Little Axe and Mark Stewart and the Maffia. Check out what he’s been up to on his Facebook page.