‘There were pitched battles, fist fights’: how Britfunk overcame racism to reinvigorate UK pop | Pop and rock


Last 12 months, a number of weeks earlier than lockdown started, Gilles Peterson was watching the Brit awards when the American musician Tyler, the Creator gained the worldwide male solo artist award. In his acceptance speech, he mentioned one thing deeply sudden: “Shoutout to all of the British funk of the 80s that I’ve tried to repeat.”

Peterson was startled. He had been an aspiring teenage DJ throughout what has change into referred to as the Britfunk period – a interval from 1976 to 1982, when London spawned a succession of homegrown bands placing their uncooked spin on the sound of funk – and will vouch for its impression and significance. There’s a convincing argument that Britfunk was the UK’s first homegrown Black – or at the least multiracial – musical style: definitely, it’s neck and neck for the title with lovers rock.

Furthermore, Peterson thinks it spawned fashionable UK membership tradition. “All of the energies got here collectively on the identical time: DJs, bands, pirate radio, report outlets promoting white labels, golf equipment,” he says, calling from his London house. “It grew into rave and acid home, and acid home grew to become a worldwide phenomenon, which continues to be creating new variations. Britfunk is an extremely essential a part of one thing that’s change into normalised when it comes to music.” However Peterson was used to Britfunk being forgotten: as he says, it wasn’t as if it attracted numerous media consideration even on the time. “It was a giant scene, but it surely was misplaced on the media, on the time, which was controlling the radio and the newspapers, Melody Maker and NME. All that’s left is the data and a little bit of grainy movie on YouTube.”

Freeez … Paul Morgan, Andy Stennett, Peter Maas and John Rocca in 1980.
Freeez … Paul Morgan, Andy Stennett, Peter Maas and John Rocca in 1980. {Photograph}: Courtesy of Beggars Banquet

And now, right here was an enormous Twenty first-century star at an award present on prime-time tv, giving the scene some props. “For the primary time, somebody introduced that he was impressed by Britfunk,” says Peterson. “I used to be like: ‘Fucking hell, they’ve bought it.’”

Additional impressed by listening to younger underground DJs slipping outdated Britfunk tracks into their units – “not the actually apparent ones, those that weren’t fairly as well-made, those which are actually costly on Discogs” – Peterson rang his outdated pal Jean-Paul “Bluey” Maunick, finest referred to as the driving pressure behind the acid jazz band Incognito, however as soon as the guitarist in Britfunk pioneers Mild of the World. “I mentioned: ‘Mate: let’s make a Britfunk report.’”

Uniting as STR4TA, they made Elements, a (largely instrumental) riot of slap bass, jazzy synthesiser and scratchy funk guitar that completely captures the style’s essence: the sound of US jazz-funk given a distinctly British makeover; a bit rougher and extra urgent-sounding than its superslick US counterpart. It’s an album that might have come out in Britfunk’s heyday, when Mild of the World, Hello-Rigidity, Beggar and Co and Central Line all appeared on High of the Pops, and the most important Britfunk hit of the lot, Freeez’s Southern Freeez, made the High 10, sharing rarefied air with Ultravox, Adam and the Ants and Kim Wilde’s Youngsters in America.

Gilles Peterson’s Britfunk playlist – stream Spotify

Shining a highlight on Britfunk feels overdue for such a groundbreaking scene. Lately, Paul McLean excursions with the Brit Funk Affiliation, however in 1976 he co-founded Hello-Rigidity, the primary Britfunk band to make any industrial headway: they scored two hit singles in 1978 with their eponymous theme track and British Hustle. When he meets younger artists at festivals who need to know his story, “I say: ‘Proper, this would possibly sound horrible to you, however with out Hello-Rigidity, Mild of the World, Central Line, you guys wouldn’t be right here.’ They usually go: ‘Uh?’”

“I say to them: ‘Let’s simply put it this manner – think about you’ve simply bought successful, No 8 within the charts, you’ve been invited on to High of the Pops as soon as once more, at a time if you don’t see faces like these on High of the Pops, particularly in the event that they had been British [he gestures to himself and his brother Patrick, Hi-Tension’s sax player, who’s sitting beside him on a Zoom call]. After which the ground supervisor comes into your dressing room, shuts the door behind him and goes: “Did you boys get pleasure from that? Sure? Good. As a result of we’re not letting any extra of you on.”’ He didn’t truly say the phrase, however we knew what he meant.”

Patrick nods. “There have been numerous issues that occurred with Hello-Rigidity after we had been informed: ‘You’re not allowed to play right here – you’re not allowed to try this.’ And we did it. So after I take a look at individuals who’ve come alongside afterwards – we took the beating. We’re not going to carry you to ransom for it, however give us the respect we’re due.”

It was a scene born out of London and the south-east’s vibrant mid-70s soul golf equipment – Crackers and the 100 Membership on Oxford Avenue in London, Royalty in Southgate, Frenchies in Camberley, the Lacy Girl in Ilford and Canvey Island’s Goldmine. Racially and sexually blended dancefloors had been presided over by a few of Britain’s first membership DJs to change into celebrities: Mark Roman, George Energy, Greg Edwards, Steven “DJ Froggy” Howlett, Robbie Vincent and Chris Hill. Hill was maybe the scene’s largest and most controversial identify, with a divisive penchant for onstage wackiness that probably contributed to the scene’s posthumous repute as a hopelessly naff world of Ford Capris with fluffy cube dangling from their rear-view mirrors, Essex boys in white socks and novelty DJs. Definitely, the footage of him within the quick 1978 movie British Hustle – enjoying Swanee whistle over the data and inspiring dancers to type human pyramids – hasn’t dated terribly effectively. However Peterson is a staunch defender. “There are a number of clips the place he’s spraying individuals with shaving foam or carrying an American GI’s uniform, and everybody simply makes enjoyable of him, however musically, he was an incredible DJ, the British Larry Levan.”

Freeez.

“The golf equipment had been an actual mixture of Black children and white children getting on in a surrounding that all of them loved, the place they could possibly be themselves,” says Maunick, wistfully. “For me, these soul golf equipment broke down the obstacles like no different motion has. I got here to this nation from Mauritius after I was 10, and I noticed the foolishness that was happening: me and my mum knocking on doorways and never with the ability to get a spot to remain. So when that motion got here out, it was superb to be past racial obstacles, actually uniting.”

The music within the golf equipment was strictly American soul, jazz and funk, however the British bands had been fuelled by a DIY, enthusiasm-over-ability perspective they shared with London’s different burgeoning musical scene of the period, punk. “I’d been listening to Herbie Hancock, Stevie Marvel, George Duke, funk bands like Slave,” says Maunick. “However after we got here to do it, we had no information – I used to be making music for the primary time in my life. You’re listening to punk, the vitality of that, and though you’re keen on a funk riff, you’re not getting that form of slick funk sound – you’re someplace between that and a man that’s simply thrashing a guitar.”

Rocca, who graduated from working in report outlets and delivering jazz-funk imports in a van to fronting Freeez, agrees. “My brother was a punk rocker, so I went with him to the Marquee, and it was implausible. I noticed individuals there who had been on the dance golf equipment I went to. It was comparable – the Britfunkers had been younger children who discovered this international music that impressed us, picked up guitars and drumsticks.”

This rawness set the brand new bands aside. There had been British funk earlier than – Cymande, the Common White Band, Gonzalez, the Actual Factor and Heatwave – however the Britfunk bands had been marked out by, effectively, their Britishness. Hello-Rigidity declined to sing in pretend American accents. “Plenty of gamers on the Britfunk scene have Caribbean backgrounds,” says McLean. “That had numerous affect on it: a looser rhythm, hints of reggae within the sound.”

Bluey Maunick with Tessa Niles at Clink studios, Lonond, in September 1981.
Bluey Maunick with Tessa Niles at Clink studios, Lonond, in September 1981. {Photograph}: David Corio/Redferns

Often extra sudden influences crept in. “Our songs had numerous chants – ‘Hello-Rigidity! That’s what we’re!’” says Patrick with a smile. “And that got here from being Black British, rising up on this nation and absorbing the whole lot that was occurring, all of the pop stuff again within the day: Slade, Gary Glitter. You had been by no means actually positive what was popping out in your sound.”

The bands’ industrial expectations had been low, however they discovered themselves accepted, enjoying golf equipment alongside DJs reasonably than the standard gig circuit. The rising recognition of the underground soul scene – 12,000 individuals turned as much as a 1980 all-dayer at Knebworth, at which Mild of the World carried out – meant that bands secured report offers regardless of an absence of media curiosity. Past a handful of pirate stations, Vincent’s Radio London present was the solitary radio outlet; the BBC tried to launch a British model of Soul Practice referred to as, alas, Black Present, but it surely by no means made it past a pilot that includes Hello-Rigidity. But as Peterson places it, “with none of the construction and the assist behind it, this music nonetheless managed to get to the charts”.

Mild of the World scored a string of minor hits earlier than splitting in two: Maunick shaped Incognito, different members Beggar and Co, who ended up performing their debut single, Anyone Assist Me Out, on the identical version of High of the Pops as Freeez. Because of Southern Freeez, Rocca had unexpectedly discovered himself a pop star, even if he had chosen to signal to Beggars Banquet, a punk/new wave label that “had no concept of what was occurring”, and that Freeez’s new lead singer, Ingrid Mansfield Allman, was moonlighting from her day job as an east London social employee.

Regardless of its industrial success, not everybody was delighted by the rise of Britfunk. Rocca remembers being locked within the Royalty membership by police: the Nationwide Entrance had turned up exterior to assault the multiracial crowd. When Mild of the World toured, Maunick says, they recurrently found “this wasn’t actually an accepted factor”.

“We went as much as the Lake District early on, they usually tore our motors aside after we had been inside enjoying the gig. There was nothing left of our automobiles after we got here out. We went to Margate and the locals had been like: ‘What’s this? Black individuals mixing with white individuals?’ They stoned the constructing. Each piece of glass bought put via with a rock. However this motion had some spunk: we went on the market and tore into them. There have been pitched battles, fist fights, to guard what we had. We had been pleased with who we had been. We weren’t going to place up with it.”

Ultimately, nonetheless, it was a shift in musical eras that introduced concerning the finish of Britfunk. The profession of Freeez is the right illustration of those altering tastes. Within the wake of Southern Freeez’s success, Rocca decamped to New York the place he encountered the nascent hip-hop scene: “Rappers, scratch DJs – we heard Planet Rock, and it was utterly completely different, in the identical means that Wicky Wacky by the Fatback Band sounded utterly completely different to me after I was in school.” Freeez’s subsequent hit, IOU, in 1983, was a collaboration with Arthur Baker, who had produced Planet Rock, and seemed like work of a completely completely different artist: “It didn’t contain jazz-funk in any respect, it was all about electro.”

Spandau Ballet’s Gary Kemp performing Chant No 1 …with Beggar and co in July 1981.
Spandau Ballet’s Gary Kemp performing Chant No 1 …with Beggar and co in July 1981. {Photograph}: PYMCA/Common Pictures Group/Getty Pictures

However Britfunk continued to train an affect over British pop. A succession of artists with roots within the scene, who made extra pop-facing music, grew to become stars, Linx and Creativeness amongst them. Beggar and Co grew to become the horn part of selection for British pop acts. Spandau Ballet had lengthy been Britfunk devotees – within the group’s early days, Maunick remembers, they might “come and sit within the nook of Mild of the World’s rehearsal room and ask us to indicate them methods to play bass and saxophone”. Subsequent they had been tapping Beggar and Co to supply the excellent brass association on Chant No 1 (I Don’t Want This Strain On). Within the wake of its success, Beggar and Co’s members went on to work with everybody from Wham! to Psychic TV.

And maybe its impression was wider than merely musical. “Once we play with the Brit Funk Affiliation, individuals come as much as us and the primary phrases out of their mouths are: ‘You don’t know what you probably did for me,’” says McLean. “They are saying: ‘Due to you I’ve bought my very own enterprise as a mechanic,’ or ‘I’ve bought my very own hair salon.’”

“You go: ‘I’m sorry? What?’ They are saying: ‘The naked nuts you guys had by simply going for it, by singing: “That’s what we’re – superstars.” I simply felt that if them boys from north-west London can go up there and do this, I need to do it.’”

Elements by STR4TA is out now on Brownswood Recordings



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