Born in Philadelphia, Randolph began his musical journey in Sao Paolo, Brasil at age six where his father, also a musician, was living and working as an engineer. He spent his teenage years in Detroit where his ability to play a wide-range of music from jazz to funk to folk and all points in between lead to Paul sitting in on sessions with artists as varied and esteemed as P-Funk, War, Brian Setzer and Buddy Guy. He has since gone on to lend his undeniably slick bass grooves and deep baritone tones to projects with Detroit luminaries such as Kenny Dixon Jr., 'Mad' Mike Banks, Recloose and Kevin Saunderson, while at the same time finding the time to produce one of the standout records of 2005, the superb 'This Is…What It Is' on Mahogani. His new record, 'Lonely Eden' is due out soon on Chicago's Still Music and is filled with stand-out tracks such as the sublime 'Believer' and the mesmerizing 'Earth 2 God'. It looks like 'Lonely Eden' will firmly cement Randolph as one of the great talents of our time.
You're from Detroit, as is my wife, what do you think it is about the city that has produced some of the sweetest soul music from the likes of Stevie Wonder, Marvin Gaye and Moodymann?
Detroit’s music history is rich and varied. I would assume due to migration from southern states that Jazz, Blues, Funk, Gospel and Rock, specifically, benefited.

Detroit is a strange city in that even as empty as the streets may be during the day there is still an energy that lurks within it from the People Mover to Buddy's. What is your take on the current state of Detroit? Do you think things are improving or getting worse?
Outsiders have this impression of Detroit as some dark, depressed, empty, desolate Gotham-like city, which is far from the truth. Come visit and hang out with people who can show you the real Detroit. Yes, there have been some cosmetic changes, but the energies that influence art and music are as strong as ever.

You were inspired by the sadly departed Jaco Pastorius to play the bass. What was it about the man and his playing that inspired you to switch from the guitar? Are there any particular tracks by the man that particularly inspired you?
'Teen Town', his solo records, but mainly his performances. He gave me permission to experiment and find my own voice - there were no rules other than a dedication to the instrument.

You've worked with everyone from Recloose to Hugh Masakela to War. All of these collaborations must have been special, but have there been any particular collaborations that have stood out for you and have been particular highlights of your career?
They have all have enriched me in different ways.

How did you get involved with Mahogani and the enigmatic Kenny Dixon Jr.?
Kenny was this enigma I had never crossed paths with, but was aware of his work. He saw I was struggling and he offered his assistance.

Your previous album 'This is. . . What it is' got serious rotation from some of the world's greatest taste-makers, were you happy by the way how it was received? Also at only 6 tracks it is rare in that it is an album that has you wishing for more. Was it meant to be so short initially? What was the inspiration behind the album?
After collaborating with so many artists/producers it was time for me to stand on my own two feet. I had just started touring with Amp and knew that I needed something out there to introduce myself as more than just a sideman or session guy. As for the length of the CD I kept it short and specific because I knew I couldn’t express myself completely in one record as it would have ended up sounding like a compilation.

When someone listens to your records there is a definite Brasilian influence in there at times? How do you see the influence that the music and culture of Brasil has on your music? Well, my father is a huge Brasilian music head so I grew up listening to Jobim, Elise Regina and others. Undoubtedly, the most profound influence was living in Sao Paulo and experiencing the culture and music firsthand.

You've said that you'd love to work with the great Milton Nascimento, whose record 'Para Lennon e Mccartney' is easily one of my favourite records of all time, what is it about the man and his music that has drawn you to his work so much?
Great chords, melodies, unique progressions and arrangements peppered with honesty and emotion. He makes you feel as though the song was written just for you.

Your father was a blues performer. What sort of influence did he have on your career?
My dad was actually a Jazz trombonist. Nowadays he plays harmonica and mostly sits in at jam sessions - he is really quite good.

Tell us about Mudpuppy.
Mudpuppy was a 5 piece high octane New Orleans style Funk and Blues band I fronted. We released 3 CD’s, opened for some wonderful shows, and had a strong Detroit following. I have been thinking about remixing some of our originals.

Your new record, 'Lonely Eden', is about to drop on Still Music. What was the inspiration behind the title and the album itself?
Lonely Eden conceptually reflects a sub-total of my inner thoughts over the last 3 years and my wish to contribute music that can be both entertaining and thought provoking. It represents a visualization of how we as individuals spend a lifetime constructing and reconstructing our own ideal Eden within an ever-changing world, which often leads to the development of triggers that help bring us back to center. Musically, it combines and cross-pollinates many (not all) of my influences. It is ME in every sense of the word!

You've worked with the great 'Mad' Mike Banks on the album, what sort of influence has he had over your career? What does he bring to the project?
Mike is a very close personal friend. We grew up together and played in bands, etc. He was my introduction to Detroit Electronic Music and its innovators. As I was mixing tracks for Lonely Eden I would take them to his studio to A/B and he insisted on doing some remixes for me.

Who else have you collaborated with on the album?
Waajeed is really the only collaboration. Amp plays on Claim and Dez Andres remixed Soul Brutha.

Jazzanova remixed 'Believer' to tremendous results. What did you think of their reworking? It is one of those records that seems to generate moments when you're out on a dancefloor.
I was honored - they did a great job. I am also going to be appearing on the two tracks for the upcoming Jazzanova CD.

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Replies to This Discussion

This is a ...bad...man. Period.
What a great photo too! Pay no attention to the man behind the vault! He's like the wizard of OZ and "photo too" *ROFL*

I know that was a bad joke...but u laughin' anyway at how dumb it was!!!!

You must be "Dorothy" clickin' yo heels tryin' ta get home...
ROFLMBO! You terrible *L!!!!

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Introspection

Entr'acte

  1. play Norman Brown — Night Drive
  2. play Norman Brown — Feeling
  3. play Norman Brown — Still
  4. play Miles Davis — miles 1
  5. play miles 2
  6. play miles 3
  7. play miles 4
  8. play miles 5
  9. play Marvin Gaye — I Met A Little Girl
  10. play Santana — 01 Singing Winds, Crying Beasts
  11. play Santana — 02 Black Magic Woman-Gypsy Queen
  12. play Mongo — 02. Afro Blue



The history of the Butlers/Raw Soul is dense, but for all of us music nerds, that's normal. It is not totally clear what year the Butlers actually formed but they released their first single in 1963 on Liberty Records. That single was "She Tried To Kiss Me" and another single followed on Guyden entitled "Lovable Girl." After the Guyden single the Butlers took a break not recording another record until the single "Laugh, Laugh, Laugh" was released on the Phila label in 1966. The group also backed Charles Earland and Jean Wells on one Phila single ("I Know She Loves Me"). 


As you might be noticing, the Butlers were doing a fair amount of recording but not achieving much success. The group's recordings sold regionally but never had the promotion to make an impact on the national scene. After the single with Phila, the Butlers moved to the Fairmount label (part of the Cameo-Parkway family) and released a handful of singles, some being reissued singles of the past. The Butlers were with Fairmount for 1966-67 and then moved to Sassy Records. Sassy released the group's greatest single (in my opinion) "Love (Your Pain Goes Deep)" b/w "If That's What You Wanted." A copy of that 45 sold for just under $500 last summer on eBay. Even though that isn't that much in the world of record collecting--it's still a hefty sum. The Butlers released another single on Sassy ("She's Gone" b/w "Love Is Good") that appears to be even 
harder to come by then the "Love (Your Pain Goes Deep)" single.

 

The true history become a bit blurred here as the AMG biography states that the Butlers last record was released on C.R.S. in 1974 (". However, between 1971 and that single, Frankie Beverly formed a group called Raw Soul and released a number of singles. Some of the songs recorded by Beverly during this period are "While I'm Alone," "Open Up Your Heart," (both on the Gregor label) and "Color Blind." "Color Blind" was released by the Eldorado label and rerecorded by Maze. Beverly's big break came when Marvin Gaye asked Raw Soul to back him on a tour. Gaye helped Beverly/Raw Soul get a contract at Capitol. Beverly decided to take the group in a different direction, a name change occurred, and Maze was created. 

The above isn't the most complete history of Beverly but hopefully someone will know a way to get in touch with the man or his management because a comprehensive pre-Maze history needs to be done on Frankie Beverly (his real name is Howard, by the way). Below you'll find every Frankie Beverly (pre-Maze) song available to me right now ("Color Blind" will be up soon). 

If you have a song that is not included below, shoot it over to funkinsoulman (at) yahoo.com and it will go up in the next Frankie Beverly post (later this week--highlighting Maze). Also, if you have any more information please share your knowledge. The Butlers material has been comp-ed sporadically (usually imports) but the entire Maze catalog has been reissued and is available. 

Enjoy.  "She Kissed Me" (Fairmount, 1966 or 1967) 
 
 "I Want To Feel I'm Wanted" (not sure which label or year) "Laugh, Laugh, Laugh" (Phila, 1966) "Because Of My Heart" (Fairmount, 1966 or 1967)
   
 "Love (Your Pain Goes Deep)" (Sassy, 1967)
   
 "If That's What You Wanted" (Sassy, 1967)
 



Frankie Beverly is one of those cats that has lasting power. He started in the music business doing a tour with doo wop group the Silhouettes and then formed his own group called the Blenders. The Blenders never recorded a single, Beverly wouldn't appear on wax until forming the Butlers a few years later. Along with Beverly, the Butlers included Jack "Sonny" Nicholson, Joe Collins, John Fitch, and Talmadge Conway.

Beverly would later enjoy great success fronting Maze and Conway would become a
well-known penning Double Exposure's
"Ten Percent" and the Intruders' "Memories Are Here To Stay." 
 While Maze is a phenomenal group, Beverly's work before that group will always stand out as his best (imo).

The Butlers produced tunes that most Northern Soul fans would kill for and Raw Soul gave the funksters something to pursue. If, by chance, you know of a way to get in touch with Frankie Beverly or his management, please drop me an e-mail. It would be absolutely great to do an interview with him about his pre-Maze work. He's still playing out, most recently doing a New Year's Eve show in Atlanta.
:: Funkinsoulman ::

Power...Through Simplicity ♪♫♪

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