I’ve been getting my funk back, these last few months. Something I’ve been meaning to listen to again was this, Blow By Blow, Jeff Beck’s head-first dive into funk from 1975.
It’s a stunning album. Produced by George Martin (at his AIR studios in London), it’s a fully instrumental record – aside from a few appearances by a talk-box on the almost unrecognisable cover of the Beatles’ She’s A Woman, and the funk workout, Thelonius.
What’s this honky doing, recording a funk album in the middle of the 1970s, you might ask. In fact, only the drummer of the group, Richard Bailey, is black. The bass player, Phil Chen, is Chinese, while Beck and keyboardist Max Middleton are as white as you can get. And that’s not even mentioning George Martin, who’s so white, he’s almost transparent.
Still, Stevie Wonder was heavily involved with this record, which gives it more than an air of authenticity. Two of Wonder’s unrecorded songs, Cause We’ve Ended As Lovers and Thelonius were gifted to Beck, with Stevie even playing a FUNKY (but uncredited) clavinet line on the latter.
Of course, I shouldn’t be so glib. It shouldn’t be about race. Anybody can be funky. It’s just that the common misconception is that white man can’t funk. But try telling that to the Average White Band. Or the Goodies.
Hit: Cause We’ve Ended As Lovers
Hidden Gem: You Know What I Mean