Mon. Feb. 18, 2019

Paul Simpson feat. Adeva – Musical Freedom

Classics: Paul Simpson feat. Adeva & Introducing Carmen Marie – Musical Freedom (Free At Last) (Cooltempo)

I remember how I felt the very first time I got to hear this monsterjam on the radio. This was some time back in Autumn 1988 with Jeff Young mastering the ceremony on his memorable ‘Big Beat’ show on Radio 1. He then explained a first version of this cut eventually saw the light with Candi Staton takin’ the lead.

To be honest, this joint really blew my ears. Not only because of a then unknown Adeva‘s incredible vocal performance. But also because of its oustanding construction. Cleverly blending samples of Toney Lee‘s ‘Reach Up’ and ‘Move’ by the Trammps. Not to mention a little reference to The Source feat. Candi Staton‘s ‘You Got The Love’ which appeared 3 years before. All of this along with fragments of Martin Luther King‘s ‘I Have A Dream’ speech…

Goin’ further way, one could consider ‘Musical Freedom’ as the ultimate episode of a transition. A transition which most likely started in the early 80’s when Disco was no more as such, and House Music not yet. A transition speaking of which Paul Simpson has had a lot to do together with Pabloviá Räbän in charge of the mixing duties. Both also responsible for the memorable ‘You Don’t Know’ by Serious Intention back in 1984.

On the heels of ‘Respect’, remixed by Paul Simpson, ‘Musical Freedom’ most likely got Adeva to the forefront. Soon after becoming one of the ambassadors of the Jersey Sound with gems such as ‘I Thank You’ and ‘Don’t Let It Show On Your Face’ among others.

Overview
Born in NY, Paul Simpson first established himself as a radio jock on MGR, Kiss and WBLS. Relocating to Philadelphia in the early 80’s, he hooked up with Norman Harris and other Philly Soul artists. Working as an arranger/musician for artists like MFSB, The Trammps and First Choice. But also The Detroit Spinners and The Main Ingredient as a producer. Not to mention Vincent Montana, Jr., eventually giving him a hand on his Philly Soundworks label.

He most likely stands among those who operated the mutation between Disco and House Music at the time along with Boyd Jarvis, Timmy Regisford, Tony Humphries and Winston Jones. With thanks to his editing skills which allowed him to craft a unique style. A style which combined stripped down heavy dubs and stellar strings along with a distinctive delay on his drum programming. But also influences from church music which he brought to a profane level.

‘Use Me, Lose Me’ which he released back in 1982 under the Paul Simpson Connection on Streetwise sounded quite avant-gardist for the time being. He dropped its follow-up – ‘Treat Her Sweeter’ – 3 years after on Michael Gusick‘s Easy Street Records label.

Simpson co-wrote and produced the memorable ‘You Don’t Know’ for Serious Intention on the same label back in 1984. By 1987, he would do a lot of remixing work for Virgin, beginning with the infectious ‘Honey’ by the likes of Well Red.
He later signed with UK label Cooltempo, eventually releasing what would be his ‘One’ and only album in 1989. An album which features gems such as ‘Musical Freedom’ and ‘Everybody’s A Star’ featuring Terri Jeffries.

Last but not least, Paul Simpson teamed up with The Carlos Sanchez Movement back in 1997. Both of them coming up with the memorable ‘Love & Respect’ brilliantly remixed by Joe Claussell on Maxi Records…

– A Patterson, NJ native, Patricia Daniels happened to be the youngest of 6 children. She crafted up her voice as a member, then director and vocal coach of her church choir. She made her professional debut back in 1988, releasing her debut single – ‘In And Our Of My Life’ – on Easy Street.

The very first time I heard her singing though brings me back to the memorable days of Jeff Young‘s Big Beat show on Radio 1. He eventually played ‘Musical Freedom’ that saw her sharing the duties with Carmen Marie and producer Paul Simpson. A cut made famous for brilliantly integrating samples of Toney Lee‘s ‘Reach Up’. And also fragments of Martin Luther King‘s ‘I have a dream’ speech. Meawnhile, she would get one of her biggest successes that same year with a cover version of ‘Respect’. A 1965 Otis Redding cut which became an Aretha Franklin‘s signature song 2 years later.

Adeva‘s eponymous debut-album saw the light the year after. In addition to ‘Respect’ and ‘Musical Freedom’, it featured extra gems such as ‘Warning’ and ‘I Thank You’. She delivered her second album – ‘Love Or Lust’ – in 1991. But the latter failed to chart despite the presence of extra goodies such as ‘It Should Have Been Me’ and ‘Don’t Let Show On Your Face’. As a result, her label – Cooltempo – released her from her contract the year after.

Adeva would nevertheless return to the light in 1995. This time with Frankie Knuckles on ‘Too Many Fish’, then ‘Whadda U Want (From Me). And, last but not least, ‘Walkin”. She released an extra album – ‘New Direction’ – in 1997, but failed to get extra success. She progressively disappeared from the radar soon after. Makin’ a welcome return 18 years later along with Louie Vega. Taking the centerstage on both ‘I Deserve To Breathe’ and ‘In The Morning’ from his ‘Starring XXVIII’ album.

Rhemi Music is a production duo and record label based in London, with the sole purpose of releasing great quality House music.
Behind this imprint and production team we have one of U.K.’s leading DJ/producers Neil Pierce. A man who also made his way as a promoter for throwing amazing secret studio parties and Club Nights in London. Meanwhile, producer/musician Ziggy Funk made himself a serious reputation with his production work on various labels. But also for his DJing, throwing down eclectic sets from House to Funk/Soul music.

After working together on previous records in the past, the two decided to come together permanently. This resulting in the launch of the label during the Summer of 2013. With every release, they grew from strength to strength and are now recognised as a label and production duo to look out for. The ambition for releasing quality music is at the forefront for them. And you can expect it always, whether it be original work, remixing or through live shows…

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