Light of the World (1979) and the origins of 'Brit Funk'(3)

Inevitably the album became one of the first to receive a 'necessary' remix/re-recording for American consumption. Despite the promising aspect of being undertaken by the producer of their next album, Augie Johnson - a leading member of Side Effect who were themselves instigated by Wayne Henderson, originally a member of The Crusaders (one of the first and most influential fusion groups) - the results are disappointing. At best it smoothes the rough elements that made the originals so endearing, at worst it sounds rather shoddily overdubbed. Strangely Midnight Groovin' is lost for the singles B side Emergency, and a new ballad is added in the form of 'I'll Always Love You'. Only Who Are You? fairs well, adding elements that really push the song in new directions. Is it any surprise British acts failed to make an impact in the US? (Although it should be noted that legendary DJs like Larry Levan and Frankie Knuckles championed UK tracks, albert in original form, in legendary clubs like the Paradise Garage. In America, however, the audience was more select and never permeated record sales as it did, and still does, over here.)

By 1981 Light Of The World had split. Maunick, Hinds and Tubbs had pursured a more Jazz Funk orientated direction as Incognito. Breeze, Kenny, and Baps stirred dancefloors as Beggar & Co with (Somebody) Help Me Out, teaming up with Spandau Ballet (of all people) for Chant No.1 (I Don't Need This Pressure On), while Gee and Nat continued under the Light Of The World monicker. By this time the Brit Funk scene had exploded with new acts, like Central Line, Freeez, Second Image, Direct Drive, UK Players and Linx - who were led by the vocalist in Maunick's church band, David Grant. But soon it lost that edge. A state which continued, exceptions like Loose Ends aside, into the British Soul of the mid-eighties.

Paradoxically when clubs revived much of the music of the seventies Jazz Funk scene as Rare Groove and Acid Jazz as an antithesis to then dominant Acid House, it led to a new explosion in British music, as the influences filtered through a whole new generation. Soul II Soul, the Brand New Heavies, the James Taylor Quartet, Young Disciples, Jamiroquai, and many more were born from that scene. When DJ Giles Peterson started Phonogram rival Acid Jazz label 'Talkin' Loud' in 1990 one of the first bands they signed was a newly reformed Incognito, still led by Jean-Paul 'Bluey' Maunick and Pete Hinds. They've become the labels longest running and most successful act. Elsewhere the other members are still very much a part of the British music scene, and even still perform as Light Of The World. Tubbs, for instance, is now one of the top session bass players in the country, having performed on many dance records. The legacy continues ...

The above is covered in a much fuller study which I am publishing on the net. Written in 1993 it doesn't necessarily reflect my current views, but may still prove useful if you want to know more about the Brit Funk and British Soul scene in general. It's an Adobe Acrobat PDF file, so if you want to read it you'll have to download the appropriate reader for your computer from Adobe's website (it's free). It should take approximately 5 minutes to download.

Brit Funk: The History of British Soul - PDF FILE

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