The Spinners were a Detroit band who at one point were actually co credited with the name of their home city-the Detroit Spinners. Also as the Motown Spinners at times because original members Billy Henderson, Henry Fambrough, the late Bobby Smith and Pervis Jackson recorded a number of singles for the famous Detroit label. Their biggest hit on the label was of course “Its A Shame”,sung by GC Cameron. Cameron was succeeded by the late Phillipe Wynn. Wynn was part of a three lead singer lineup of the band at Atlantic Records-for a series of albums produced by Philly maestro Thom Bell.
That period of the Spinner’s recording from 1973-1976 was their most commercially successful. While they’d go on to make some superb records after that,its that early/mid 70’s period that defines them in the public consciousness. Pervis Jackson was one of the three lead singers of the band. Though he passed away from cancer in 2008, his bass vocals were a key part of their five part vocal harmonies. There was one time where his vocals became more the star of the show. And that was on another huge smash hit for them from their 1975 Pick Of The Litter album called “Games People Play”.
A spacious drum thump starts out the song. A high pitched rhythm guitar,filtered piano and close knit bass line provide the basic melody along with accompanying horn lines. A string riser segues into that intro extended out into the refrain of the song. A second statement of the song extends out into a different chord-focusing on the horns and strings playing along with the lead vocals,which include female guest singer Evette L.Benton. The chorus of the song finds the groups vocal harmonies singing the the melodic string and horn orchestration. Its on this chorus that the song fades out.
“Games People Play” is one of my very favorite Spinners song. Its some of the finest produced mid tempo cinematic soul of the mid 70’s Especially the vocal exchanges. For Pervis Jackson’s part,his moment on this song occurs during the beginning of the third refrain where his bass voice sings “12:45”. As I understand it, that lyrical phrase became his nickname for a time. The end result is one of the best vocally oriented musical studio soul sounds of its era. Thom Bell was a master of highly musical vocal productions. And this is one of many fine examples of this from the Spinners during the 70’s.
He’s been called The Beat Conductor,The Loopdigga,Quasimoto,DJ Lord Such,his own name Otis Jackson Jr,Yesterday’s New Quintet. But whatever name he chooses,Madlib is someone who crosses the barriers between two sources of musical information in my life: my friend Henrique and my father. It was my father who first started introducing me to Madlib when he shared a mutual interest with keyboardist/then local DJ Nigel Hall in his Shades of Blue and fascination with Mizell brothers period Donald Byrd. So each time a new Madlib CD came out,my father got it and we listened to it on the way home from the record store. Hearing all the layers of 70’s and 80’s soul/funk/jazz-funk samples in his music? Madlib really began to call to mind Henrique’s discussions with me about hip-hop being an important archival music for the funk,jazz and soul music that moves both of us. When this album was originally released earlier this year featuring the rapping of Freddie Gibbs? I had a feeling an album like this would follow from Madlib himself. This was what I wanted to hear. And what a thrill it is too!
With “Scarface” as the orchestral opener the album goes into the slow crawling cinematic oriented soul break of “Deeper-after which comes the the call-and-response clavinet based melodic funk of “High”-featuring the lyric “I get high” which slows down to a crawl by songs end. “Harold”,with its jazz guitar solo and “Bomb” with its symphonic electric pianos and keyboards are both deep,spare funk pieces. “S**tsville” and “Thuggin” are both beautifully dramatic pieces based on keyboard and guitar oriented orchestral soul-with the mildly classical twist a Stevie Wonder or David Sancious might add to the mix. “Real” and “Uno” are very spare pieces-more designed to focus on an MC than the music itself. “Robes” on the other hand is a melodically soulful jazz type number a beautiful female vocal looped in and out of the mix. “Broken”,”Lakers”,”Shame” and “Knicks”,the later with a male soulful vocal moan loop are all beautifully orchestrated,piano based Thom Bell style early 70’s soul ballads. The album continues on with the horn oriented intro “Watts” before going into “Pinata”-an early 70’s sitar led slow groove with the organ solo repeating again with the string refrain breaking it up now and again.
As someone who was never at all part of any aspect of hip-hop culture from the inside? I’ve had to observe the genre from without. And though I greatly admire the rapping abilities and lyrical statements of people such as The Roots’ Black Thought,Chuck D and KRS One? There are many times when certain MC’s,especially those of the more braggadocio and profane variety,to be highly distracting to the often fascinating music that is often taking place around them. Therefore the instrumental hip-hop of artists like Madlib always interest me. Since the man is obviously far,far more versed in the soul/funk spectrum than I? Have to admit I am not 100% aware of most of the artists he loops and samples in his music unless specifically indicated. But still the fact that many rap superstars give the impression that hip-hop is all about personality and not music tends to make many people forget that their is a very strong musical art form at the very core of hip-hop. Its part of the DJ based culture that rose out of the disco era. And since that mid/late 70’s era is Madlib’s favorite period to draw inspiration from? I personally champion him as a strong modern purveyor of the thoroughly music end of the hip-hop genre. And that is why I chose the instrumental version of this,as opposed to the one with Freddie Gibbs as MC. Either way,this is impressive funky soul loops,breaks and cinematic grooving delights!
*Here is the original Amazon.com review: