Terry Callier is a lesser known figure among the Chicago music scene of the 1960’s. He was a childhood friend of some of the city’s future musical starts out of Record Row-in particular Impressions’ Jerry Butler and Curtis Mayfield. Callier eventually took after Mayfield as a guitar player and signed to Cadet at the end of the 60’s. Difference is Callier was as more of a folk storyteller. During that time,he began to take on a jazz influence to his pieces inspired by John Coltrane’s music. He recorded several acclaimed albums in the early 70’s and toured in support of Gil Scott-Heron and George Benson.
It was again my father who introduced me to Terry Callier about 12 years ago. It was through a reissue of a 1977 album called Fire On Ice,which was his debut on the Elektra label and was then getting a reissue on CD. It was also made clear about the gentle jazz/folk hybrid sound Callier was better known for. And that this 1977 album was not indicative of his usual sound. Sounded like something that was waiting to be heard based on that description. Of course there are still many folksy ballads on this album,the song that really stood out as being somewhat unique for Callier here was called “Street Fever”.
Michael Boddicker starts out playing a revving,unaccompanied guitar synthesizer-featuring a break with a thick popping sound before an up-scaling space funk synthesizer brings the cymbal heavy drum part in. On the refrain,the snare drums come in playing a slicker beat with the synthesizers playing multiple stacked melodies behind it. On the second chorus,the horns begin playing in close unison to the synthesizers. There is a screaming rock guitar solo on the final refrains-with eventually breaks off into the space funk synthesizer from earlier before the song comes to a quick halt.
This is a flat out amazing song in the sense it anticipates the brittle,new wave inflected sound of new wave and naked funk by several years. And that of course was the same thing the Isley Brothers were doing at the same time with tunes like “Livin’ In The Life”. Callier adds some tough 12 bar blues choruses to the affair-along with some percussive vocal grunts and shouts. At the same time,there is a strong production slickness to it. Since like the rest of it’s accompanying album it was recorded in Chicago,it showcased that the windy city was still rife with innovative funk/rock/soul sounds at the end of the 1970’s.