Classics: Curtis Hairston – I Want Your Lovin’ (Just A Little Bit) (London Records)
No matter what, from its very first notes, you can feel it… You can say as to how ‘I Want Your Lovin” has that something particular. Meanwhile Hairston‘s uplifting interpretation seems to be gliding along with infectious synth lines over a bumpin’ bassline. This adding much in terms of conviction to the message. More or less reminding of Peabo Bryson at times. As for Greg Radford‘s production work, it most likely has something of Kashif‘.
I just wish we would have more of him in that vein. Easier said than done though…
– From Winston-Salem, NC, Curtis Kinnard Hairston had all to secure a bright future for himself. Born to sing – he grabbed a microphone to perform in a church at the age of 3 – he joined the BB&Q Band in the mid-80’s. Takin’ the center stage vocally speakin’ on ‘Genie’. An album that spanned the classic ‘Dreamer’ and its title track.
As a solo artist, he released an eponymous album which would be his one and only back in 1986 on Atlantic. Although he would score his biggest successes on indie label Pretty Pearl. The first, and probably his most famous one – ‘I Want You (All Tonight)’ – in 1983 with remixing work courtesy of Sergio Munzibai and John Morales. And the second – ‘I Want Your Lovin’ (Just A Little Bit)’ – 2 years after. This time with Timmy Regisford and Boyd Jarvis in charge of the mixing duties.
Sadly, Curtis died from diabetes related kidney failure on Jan. 18, 1996, at the age of 34…
– The very first time I’d got to hear of Boyd Jarvis brings us back to 1983. Back then, he was the man behind Visual‘s ‘The Music Got Me’ with production work by the likes of Timmy Regisford on Prelude. At a time when Disco had gone out of the trends (remember the Demolition Night). Meanwhile leavin’ the Big Apple club scene in search of what would come next.
The record that spawned a musical revolution had its origins in Jarvis’ obsession with synths. “The synthesizer has been an opportunity for me to get into the music business”, Jarvis said on Redbullmusicacademy. “I read books about synthesis, and learned to make drum sounds using white noise, sub, click and so on. Through that I discovered how to make my own syn-drums, claps and kicks.”
Starting as a lighting designer before studying music architecture, Boyd Jarvis played a key role in the mutation of Club Music. This along with Winston Jones, Paul Simpson, and Tony Humphries. Not to mention Timmy Regisford with whom he would work on a regular basis at the time. Such as on the mixing work of ‘I Want Your Lovin’ (Just A Little Bit)’ which they did for Curtis Hairston among others.
More of a shadow man, Boyd‘s name is associated to countless releases. As a producer, session musician and remixer. From Jellybean to Herbie Hancock. But also TZ’s ‘I Got The Hots For You’, or Billie‘s ‘memorable ‘Nobody’s Business’. This in addition to Wally Jump, Jr. and Antonio Ocasio to name a few. Therefore standing among the missing links between Disco and House Music. Meanwhile standing as the one who came to discover Colonel Abrams. Contributing to his classic ‘Music Is The Answer’…
The 90’s saw Jarvis collaborating with Joe Claussell. With the twosome eventually bringing Ananda Project‘s ‘Cascade Of Colour’ to a rare level on their remixing work. Meanwhile he would also give the whole dimension of his talent on his own. This with the percussive ‘Sunny Days’ back in 2001 on François K‘s Wave Music label. His 2012 ‘Boyd Jarvis And The Suovonic Movement’ album givin’ us an extra opportunity to enjoy his skills.
Boyd Jarvis sadly died, aged 59, on Feb. 16, 2018 in East Orange, NJ after battling against cancer.