Saturday, October 21, 2017

10 essential Prelude Records gems

10 essential Prelude Records gems10 essential Prelude Records gems… The establishment of an identity happened to be the ultimate key word by the end of the 70’s, be it musically with the arrival of producers settin’ us a distinctive sound, as visually with trends applying to social if not political categories. With the same applying for many independent structures which came to symbolize what a label is supposed to be: an entity synonymous with a certain standard of quality!

Among them and without an oz. of a doubt, Prelude Records which, during its decade of activities, has pretty much contributed to the evolution of music with the establishment of the remix, as opposed to edited extended versions, as to the one of the DJ’s as post-producers. With big ups to its creator, Marvin Schlachter, as interestingly captured in an interview on

No need to say how this selection is way from being exhaustive, due to be given a Pt. 2 any day now. Nevertheless, you should find thereafter a pretty much illustrative sample of jams which have contributed making Prelude Records one of the most brilliant and enlightening ventures in the establishment of music as we’ve known since then…

Wishing you’ll enjoy the ride as much as we did, while putting this together for you. With your feedback, and a mention of your favorite song more than welcome.

10 essential Prelude Records gems / D-Train – You’re The One For Me (Shep Pettibone Mix) (Prelude Records)
Among the biggest sellers for the label, by the association between singer James Williams and producer Hubert Eaves III (The Strangers, Miles Davis). A duet speaking of which label head Marvin Schlachter said they managed to capture the sound of the period, from a blend of R&B, Jazz and Funk vibes on the heels of what he championed during his days at Chess Records. Williams and Eaves developping a signature sound that would give birth to countless classics such as the aforementioned, ‘Keep On’, Keep Givin’ Me Love’, ‘Music’ and their cover versions of both ‘Walk On By’ and ‘The Shadow Of Your Smile’…
10 essential Prelude Records gems / Jocelyn Brown – Somebody Else’s Guy (Vinyl Dreams Records)
The exception to the rule as not released on Prelude Records, but on a label manufactured and distributed by the latter. The title cut from her 1984 released album of the likes stands as her biggest success ever as an artist on her own, with production work by the likes of Fred Mcfarlane and Allen George. One of the most powerful singers of her generation, Jocelyn has survived the test of time, from her early collaborations with Patrick Adams (under the Musique and Inner City guises) to her memorable cover version of ‘Always There’ with Incognito and her contribution to the 1996 released ‘Nuyorican Soul’ album concept by Louie Vega and Kenny Dope Gonzalez (‘I Am The Black Gold Of The Sun’, ‘It’s Alright (I Feel It)’) among many others…
10 essential Prelude Records gems / Secret Weapon – Must Be The Music (Prelude Records)
A nine-piece band comprizing ‘The’ Roy Skip Snider, Darius Mitchell, Dave Brown, Djuana ‘DJ’ Thomas, Kevin Walker, Michele Blackmon, Rickey Paige, Russell Thomas and Jerome Prister, Secret Weapon released only one album (self-titled) back in 1983, out of which the jazzy/funk ‘Must be The Music’ would stand as their biggest classic with bassist Jerome Prister in full effect. The latter, also remembered as Jerome ‘Secret Weapon’ Prister would also add his name to the list of the one-hit wonder with the mellow ‘Say You’ll Be’ on indie label Tuff City 2 years after…
10 essential Prelude Records gems / Inner Life – I’m Caught Up (In a One Night Love Affair) (Prelude Records)
Inner Life saw the light back in 1979, from the reunion between singers Leroy Burgess (formerly of Black Ivory) and Jocelyn Brown, and close friends and producers, Stan Lucas, Greg Carmichael and Patrick Adams. The title cut from their debut-album of the name, although more of a mini-album if not an EP (featuring 5 tracks), this gem stands among their biggest classics, along with their cover version of the Ashford & Simpson penned ‘Ain’t No Mountain High Enough’ which they released 2 years after on Salsoul Records as a part of their self-titled album
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