Evelyn King’s origin story as a profession singer is one that you seldom hear any more. She was discovered on a TV show and (obviously) through a a YouTube video. Another Philly native,King was discovered singing Sam Cooke’s “A Change Is Gonna Come” while working as an office cleaner for her mother at Philledelphia International Records. Her future producer T (Theodore) Life overheard the teenager’s husky and rangy voice and began coaching her. In 1977 he signed up as her producer on at MCA records where she recorded her debut album Smooth Talk and it’s massive disco smash hit “Shame”.
One thing about King’s career arc is how much her strong,soulful voice was developed in terms of quality albums as well as singles. This is something usually done with instrumentalists,whereas singers are generally expected to churn out successful single records. In 1981 her music began moving in the boogie/post disco direction under the guidance of her new producer Kashif. In 1983,she moved onto Minneapolis Prince alumni Andre’ Cymone along with Leon and Foster Sylvers. This 1983 albume Face To Face contains one of my favorite grooves from King during era in “Shakedown”.
Phat orchestral synthesizers playing along with a snare sound heavy drum machine begins the song. After this,the drum machines goes naked with only live percussion providing some instrument undergarments-along with bursts of slap bass. Then the brittle synth brass comes in-eventually accentuating bluesy vocal lines on the refrains. This pattern continues throughout the song-with the choral bridge being sung over the more orchestral intro. On the bridge,Shalamar guitarist Miki Free provides scintillating layers of rocking lead guitar before the drum/bass/percussion based refrain fades out the song.
As a vocalist whose career generally celebrated quality album runs,Evelyn King also made funk as much a part of her sound as the disco-dance records she made. And her funk numbers have really served her well creatively and commercially as an uptempo based artist. This one has really grown with me because it’s a great combination of boogie’s live bass and percussion with a Minneapolis style synth brass/drum machine powered groove. This type of sound would evolve into what Jody Watley did on “Looking For A New Love”-also produced by Andre’ Cymone. So on that level,this funk is a pretty big deal.