Ray Parker Jr. was no stranger to music when this 1978 debut dropped. All those years that the Detroit native provided guitar accompaniment to Rufus, Stevie Wonder and Herbie Hancock made clear this multi instrumentalist had an individual enough sound (and personal identity) to survive as an entity on his own. As a matter of fact, aside from actually being in the position of employing a several session musics of his own such as Wah Wah Watson and Sylvester Rivers on piano plus a trumpet and sax player Ray Parker played, wrote,produced and engineered most the music on this album.
Jerry Knight was the only member of Raydio to accompany Parker instrumentally-as the bassist. Knight also brought his vocal ability along with Vincent Bonham and most notably Arnell Carmichael to create the vocal quartet of Raydio. Although showcasing by and large Ray’s distinctive layered mini-moog based sound hard funk jams such as “Is This A Love Thing”, “You Need This (To Satisfy That) and “Me” are all far more incredibly hard edged than the sort of of sophistifunk Ray/Raydio would become known for-with the horn and rhythmic voices having a more prominent live band flavor.
Adding some Smokey Robinson-like wordplay into the mix “Honey I’m Rich” is a more of Ray’s pop/funk sound. The breakout hit “Jack & Jill”, with its layers of mini Moog (both bass and otherwise) reverbed into some incredible melodic exchanges. It’s basically Ray’s signature musical sound and shows up again on excellent mid tempo funk grooves such as “Betcha Can’t Love Me Just Once” and “Let’s Go All The Way”. Much as Kashif and Prince would innovate later, Ray was using synthesizers in place of horn parts here. It anticipated the future but also created a musical present for him as well.
The album concludes with “Get Down”,a chunky bass/guitar oriented melodic funk instrumental and one of the best in it’s kind from Ray. In just about every imaginable way a musically impressive and significant set of sophistifunk classics this album provides the missing links between the era of Stevie Wonder and Prince. A link wherein the concept of the sexual revolution (lyrically) and the orchestral use of electronics (musically) would be explored to their fullest in terms of the funk genre. And honestly I am not sure if Ray Parker gets a lot of the credit he deserves for doing that.
Jerry Knight is a name I’ve been hearing about for quite sometime. There seems to have been a number of funk/soul musicians who had one or two major songs. But didn’t have a long term career as solo artists. That appears to have been what happened to Knight. Online research on this artist was really sketchy. According to two separate sources he was born today in either 1952 or 1955. And according to another he died 19 years ago. What is known about the man is that he was born in LA. And was a founding member of Raydio with Ray Parker Jr. Most of the information on this man came courtesy of Allmusic.com columnist and personal Facebook friend Ron Wynn. So wanted to thank him indirectly.
One thing that is known about Knight is that as a bass player/singer/songwriter/producer he worked with many artists in the soul/funk spectrum during the early 80’s-many of whom were once members of major 70’s funk acts now seeking solo careers. Among them were Phillip Bailey and Howard Hewett. Upon leaving radio after their first album, Knight decided to pursue a solo career. He eventually landed on A&M Records where he recorded three solo albums between 1980 and 1982. The first of these was a self titled effort that featured some co-writing contributions from Raydio’s Arnell Carmichael. The biggest song on this album was a groove called “Overnight Sensation”.
Guitarist Skip Adams begins the song playing a very Larry Carlton styled jazz-fusion type riff along with Knights thumping,round bass and rhythm Fender Rhodes on the intro. All the while Quintin Dennard keeps the beat steady on drums. The Rhodes takes the main solo until Adam’s rocking guitar takes over for the rest of the song. On the choruses, Knight sings lead with his backup vocalists. On the refrain’s,Dennard’s drums have a more skipping rhythm while the Rhodes scales up in pitch. This chorus/refrain pattern repeats itself for most of the song-with a bridge where the P-Funk like backup singers take the lead vocal again. This pattern continues on the chorus that closes out the song.
Instrumentally this is a pretty bold song. The funk percolates pretty heavy,and a lot of the notes used have a distinctly jazz fusion styled flavor about it. Knight’s bubbling bass soloing throughout the song allows for Adam’s guitar solo to flourish. By taking a hard,steely funk rhythm and throwing down a hard rocking guitar solo this song takes the funk/rock hybrid the Isley Brothers had been pursuing around this time and adds those heavier fusion notations. That gives it a sense of transcending the sound of one decade’s groove onto another. Whole Jerry Knight may not have a massively available personal biography,his funk certainly spoke for itself.
Filed under 1980's, A&M Records, drums, Fender Rhodes, Funk Bass, funk rock, jazz funk, Jerry Knight, Los Angeles, Quintin Dennard, rock guitar, Ron Wynn, Skip Adams, Uncategorized