George Semper • Makin' Waves

George Harley Semper

b. 1.1.1942

d. 1.9.2009

In the mid 1960s George Semper recorded and released the "Makin' Waves" album through Imperial Records, reissued on the UK based Hubbub label. Semper's deal with Imperial went bad so in 1966 he became a partner in the Jazzville nightclub in San Diego. He was responsible for bringing in artists like Miles Davis,Little Richard, The Temptations, BB King, Marvin Gaye , Jackie Wilson, Dave Brubeck, Jerry Butler, Gene Chandler, Johnny Guitar Watson, Ramsey Lewis, Curtis Mayfield & The Impressions, John Coltrane, Cannonball and Nat Adderly and Otis Redding major acts that wouldn't normally venture south of Los Angeles.

George Semper had booked Ike and Tina Turner in 1966, it was a high maintenance gig with temperamental Ike Turner threatening not to show. A few days before the Turners were due to play Jazzville, Semper was asked to fillin for a friend and play organ in Las Vegas. The gig was on the same night as the Turner show. After several calls with Ike Turner he was sure that they were actually going to make it and decided it was safe to take the Vegas gig. He played with Ray Charles backing band at a club and hotel called the Moulin Rouge. Unfortunately the band played to an empty club. But having such a good time together they played another night. By the third night word had spread about a hot new band at the Moulin Rouge and the club was busy. The club owner was so impressed he had Semper stay for a week in order to play the following weekend. Semper ended up staying 2 years in Vegas. The band evolved to feature his musicians from San Diego and they eventually moved to Caesars Palace becoming George Semper and the Soul Patrol.

George, sold his stake in the San Diego club and moved to LA in late 1969 with the money he'd saved from his Las Vegas gigs. Between 1969 and 1972 he was kept busy with studio work and made the unusual but smart business decision to request he be able to keep the masters to songs he played on and wrote. That's how songs like the covers of "Thank You (Falletinme Be Mice Elf Agin)" and "It's Your Thing" appear on this compilation. Semper started his own production company called Inner City Attractions. He made it his mission in life to go and find acts around the country. "I went all over and recorded groups, probably only breaking even when you figure in traveling and taking chances on acts."

Ron and Candy were the first act signed to Semper's Inner City label. Their "Lovely Weekend" single was a massive success selling close to 200, 000 copies. "The two of them came and sang the song at my house and I knew straight away I wanted to sign them," explains Semper. "We recorded it at CBA (Clark Brown Audio) recording studio in the Crenshaw district of Los Angeles in 1972. It was a letyourhairdown session with the musicians and singers recording with all of their hearts. They all recorded for free, based on faith that things were going to happen. Even the studio was free. And things did happen so everyone got paid five fold," he adds. "The only thing that kept me from selling a million was that I was on tour with Merry Clayton and Cheech & Chong when the record took off! Being on the road I couldn't keep up with demand for the record in certain markets. I ended up turning down offers from a couple of major labels who wanted to take the single off of me, and I was going to go with MGM before they closed down," says Semper.

The single was even bootlegged by a company in Florida. Featured on this compilation is "Plastic Situation," the BSide to "Lovely Weekend". The Ron and Candy single was so in demand in 1972 that Semper used it as barter to record other tunes that ended up on this compilation. Ray Dobar's House of Music record store in Oakland had an 8track studio in the back. Dobar gave Semper studio time to record In One Peace and Funkafreek in exchange for copies of the single. "It was funky little studio that didn't cost much money," remembers Semper. "The sound is really raw on those tracks, it's so hot it's almost distorted!" he adds.

2 or 3 takes of each track were recorded across several master tapes. Fortunately some of the tapes were sent back to Los Angeles by mail because passing through the XRay machine on the flight home the tapes in Semper's possession were wiped clean! None of either bands tunes recorded in that record store session were released until now. One member of In One Peace went on to release many records. The 14 year old keyboard playing bandleader was Rodney Franklin who had a very successful career as a jazz pianist with Columbia Records.

Several of the artists on this compilation came to Sempers attention through Paul Mack, national promotions manager for Inner City Records who was based in the Bay Area. Finding In One Peace and Funkafreek, he also introduced Parliament and Funkadelic to Semper when they saw how well Ron and Candy had sold. Semper was tied up with a group called Mean Machine at the time and unfortunately couldn't get free to work with George Clinton and Co.

Together Mack and George brewed a Bay Area sound typical for the times. "Funk from the Bay area is so identifiable when you hear it," says Semper. "It's hard to pinpoint, but certain areas have certain styles and the Bay Area had it's own style - Sly Stones band, the Pointer Sisters backing band, Tower of Power, it's loose sounding funk but often more arranged than other funk jams and with vocals. There was a big live scene all around the Bay, and rock mixed with r&b a lot of time. In LA you were doing one or the other, but in San Francisco it was all mixed up - the people were just different there."

Semper and Mack's Bay Area style stuck with them through the 1970s even when they recorded The Perfect Circle in the latter part of the decade. The Perfect Circle were another Paul Mack discovery and Semper once again was caught choosing whether he should work with one band over another. He turned down Mandrill to finish up work on the now collectible rare-vinyl The Perfect Circle album that blended funk, soul, jazz, and disco influences.

There's a hint of early disco, a touch of boogie tune, and a whole lot of soul in Mary Love's 1975 recording "More Love". Hailing from Los Angeles she was a big attraction on the club circuit. "In the '70s L.A. had clubs from one end of the city to the other end, and Mary Love played nearly all of them," says Semper. Today, Mary Love sings and teaches as an evangelist.

Not all the artists featured here were obscure, underground or one-hit wonders. George Semper was in the line-up for the United Soul Association band, which also included guitar work by Al McKay also a member of the Watts 103rd Street Rhythm Band and Earth Wind and Fire. The Funkateers were a backup band for Ode record's Merry Clayton, and often toured the University and college circuit appearing with acts like Billy Preston, Carole King, The Rolling Stones, Buddy Miles, ELO, Isaac Hayes, and Johnnie Taylor. Funkproof began as Brenton Wood's backup band. Wood penned and performed three multi million selling hits; "Oogum Boogum Song," "Gimmie Some Kinda Sign," "Baby You Got It." A Funkproof album was scheduled for release by MGM, but just like the song Ron and Candy song it was never released as MGM abruptly closed its doors.

The George Semper Music Archives continues to reissue and first issue rare George Semper material, has preserved and cataloged Sempers Life work, and that of his network of collaborators!

https://www.discogs.com/artist/282008-George-Semper
https://www.facebook.com/georgesempermusicarchives/

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George Harley Semper

b. 1.1.1942

d. 1.9.2009

A mediados de los años 60, George Semper grabó y lanzó el álbum "Makin' Waves" a través de Imperial Records, reeditado por el sello británico Hubbub. El trato de Semper con Imperial salió mal, así que en 1966 se convirtió en socio de la discoteca Jazzville de San Diego. Fue responsable de traer a artistas como Miles Davis, Little Richard, The Temptations, BB King, Marvin Gaye, Jackie Wilson, Dave Brubeck, Jerry Butler, Gene Chandler, Johnny Guitar Watson, Ramsey Lewis, Curtis Mayfield & The Impressions, John Coltrane, Cannonball y Nat Adderly y Otis Redding que normalmente no se aventuran al sur de Los Ángeles.

George Semper había contratado a Ike y Tina Turner en 1966, era un trabajo de alto mantenimiento con Ike Turner temperamental amenazando con no aparecer. Unos días antes de que los Turner tocaran Jazzville, se le pidió a Semper que sustituyera a un amigo y tocara el órgano en Las Vegas. El concierto fue la misma noche que el show de Turner. Después de varias llamadas con Ike Turner, estaba seguro de que iban a lograrlo y decidió que era seguro tomar el concierto de Las Vegas. Tocó con la banda de Ray Charles en un club y hotel llamado Moulin Rouge. Desafortunadamente la banda tocó en un club vacío. Pero pasándolo tan bien juntos que jugaron otra noche. A la tercera noche se había corrido la voz sobre una nueva banda en el Moulin Rouge y el club estaba muy ocupado. El dueño del club estaba tan impresionado que hizo que Semper se quedara una semana para tocar el fin de semana siguiente. Semper terminó quedándose dos años en Las Vegas. La banda evolucionó para incluir a sus músicos de San Diego y eventualmente se mudaron a Caesars Palace convirtiéndose en George Semper y Soul Patrol.

George, vendió su participación en el club de San Diego y se mudó a Los Ángeles a finales de 1969 con el dinero que había ahorrado de sus conciertos en Las Vegas. Entre 1969 y 1972 se mantuvo ocupado con el trabajo en el estudio y tomó la inusual pero inteligente decisión de negocios de pedirle que fuera capaz de mantener a los maestros con las canciones que tocaba y escribía. Así es como canciones como las versiones de "Thank You (Falletinme Be Mice Elf Agin)" y "It's Your Thing" aparecen en esta compilación. Semper comenzó su propia compañía de producción llamada Inner City Attractions. Hizo su misión en la vida ir y encontrar actos por todo el país. "Fui por todas partes y grabé grupos, probablemente sólo cuando piensas en viajar y arriesgarte en actos."

Ron y Candy fueron el primer acto firmado para la etiqueta de Semper's Inner City. Su sencillo "Lovely Weekend" fue un gran éxito vendiendo cerca de 200.000 copias. "Los dos vinieron a cantar la canción a mi casa y supe de inmediato que quería firmarla", explica Semper. "Lo grabamos en el estudio de grabación CBA (Clark Brown Audio) en el distrito de Crenshaw de Los Ángeles en 1972. Fue una sesión de desilusión con los músicos y cantantes grabando con todo su corazón. Todos ellos grabaron gratis, basados en la fe en que las cosas iban a suceder. Hasta el estudio era gratis. Y las cosas pasaron, así que a todos les pagaron cinco veces más", agrega. "Lo único que me impidió vender un millón fue que estaba de gira con Merry Clayton y Cheech & Chong cuando el disco despegó! Estando en la carretera no podía seguir el ritmo de la demanda de los récords en ciertos mercados. Terminé rechazando ofertas de un par de grandes sellos que querían quitarme el sencillo, e iba a ir con MGM antes de que cerraran", dice Semper.

El single incluso fue contrabandeado por una compañía en Florida. En esta compilación se presenta "Plastic Situation", la película de BSide para "Lovely Weekend". El single Ron and Candy fue tan solicitado en 1972 que Semper lo usó como trueque para grabar otros temas que terminaron en esta compilación. La tienda de discos House of Music de Ray Dobar en Oakland tenía un estudio de 8 pistas en la parte trasera. Dobar le dio tiempo a Semper studio para grabar In One Peace y Funkafreek a cambio de copias del sencillo. "Era un estudio pequeño y funky que no costaba mucho dinero", recuerda Semper. "El sonido es realmente crudo en esas pistas, es tan caliente que casi se distorsiona", añade.

Se grabaron 2 ó 3 tomas de cada pista a través de varias cintas maestras. Afortunadamente algunas de las cintas fueron enviadas de vuelta a Los Ángeles por correo porque al pasar a través de la máquina de rayos X en el vuelo de regreso a casa, ¡las cintas en posesión de Semper fueron limpiadas! Ninguno de los temas de las dos bandas grabados en esa sesión de la tienda de discos fueron lanzados hasta ahora. Un miembro de In One Peace publicó muchos discos. El líder de la banda de teclado de 14 años fue Rodney Franklin, quien tuvo una carrera muy exitosa como pianista de jazz en Columbia Records.

Varios de los artistas de esta compilación llamaron la atención de Sempers a través de Paul Mack, gerente nacional de promociones de Inner City Records, que tenía su sede en el área de la bahía. Finding In One Peace y Funkafreek, también presentó Parliament y Funkadelic a Semper cuando vieron lo bien que Ron y Candy se habían vendido. Semper estaba atado a un grupo llamado Mean Machine en ese momento y desafortunadamente no podía trabajar con George Clinton y compañía.

Juntos, Mack y George crearon un sonido típico del área de la bahía para la época. "El funk del área de la bahía es tan identificable cuando lo escuchas", dice Semper. "Es difícil de precisar, pero ciertas áreas tienen ciertos estilos y el Área de la Bahía tiene su propio estilo - la banda Sly Stones, la banda de apoyo Pointer Sisters, Tower of Power, es funk de sonido suelto, pero a menudo más arreglado que otros mermeladas de funk y con voz. Había una gran escena en vivo alrededor de la Bahía, y rock mezclado con r&b mucho tiempo. En Los Ángeles se hacía lo uno o lo otro, pero en San Francisco todo estaba confuso, la gente era diferente".

El estilo de Semper y Mack en el Área de la Bahía se mantuvo con ellos hasta la década de 1970, incluso cuando grabaron The Perfect Circle en la última parte de la década. El Círculo Perfecto fue otro descubrimiento de Paul Mack y Semper una vez más fue sorprendido eligiendo si debía trabajar con una banda en vez de con otra. Rechazó a Mandrill para terminar el trabajo en el ahora coleccionable y raro álbum de vinilo The Perfect Circle que mezclaba influencias del funk, soul, jazz y disco.

Hay un toque de discoteca temprana, un toque de boogie, y un montón de alma en la grabación de Mary Love de 1975 "More Love". Procedente de Los Ángeles, era una gran atracción en el circuito de clubes. "En los años 70, Los Ángeles tenía clubes de un extremo a otro de la ciudad, y Mary Love tocaba casi todos", dice Semper. Hoy, María Amor canta y enseña como evangelista.

No todos los artistas que aparecen aquí son oscuros, underground o maravillas de un solo éxito. George Semper estaba en la formación de la banda de la United Soul Association, que también incluía trabajos de guitarra de Al McKay, miembro de la Watts 103rd Street Rhythm Band y de Earth Wind and Fire. Los Funkateers eran una banda de apoyo para Merry Clayton, de Ode, y a menudo recorrían el circuito universitario y de la universidad con actuaciones como Billy Preston, Carole King, The Rolling Stones, Buddy Miles, ELO, Isaac Hayes, y Johnnie Taylor. Funkproof comenzó como la banda de apoyo de Brenton Wood. "Oogum Boogum Song", "Gimmie Some Kinda Sign", "Baby You Got It". Un álbum de Funkproof estaba programado para ser lanzado por MGM, pero al igual que la canción Ron y Candy, nunca fue lanzado ya que MGM cerró sus puertas abruptamente.

El Archivo Musical de George Semper continúa reeditando y publicando por primera vez material raro de George Semper, ha preservado y catalogado la obra de Sempers Life, y la de su red de colaboradores!

https://www.discogs.com/artist/282008-George-Semper
https://www.facebook.com/georgesempermusicarchives/

Traducción realizada con el traductor www.DeepL.com/Translator

Discogs ... 


Tracklist
A1 Collard Greens 2:06
A2 I Can't Stop Loving You 2:37
A3 (I Can't Get No) Satisfaction 2:48
A4 Hog Maws N' Cabbage 2:48
A5 Get Out Of My Life Woman 2:45
Medley (2:35)
A6a Where Did Our Love Go
A6b 1-2-3
A6c Can't Help Myself (Sugar Pie Honey Bunch)
A7 Thank You ( 4 Lettin' Me Be Myself) 3:03
A8 Barking Up The Wrong Tree (Instrumental) 1:39
B1 Pigeon Peas And Rice 3:09
B2 Corn Bread N' Chitlins 2:41
B3 What Now My Love (Et Maintenant) 2:28
B4 Memphis 2:20
B5 Green Onions 2:21
B6 Shortin' Bread 2:25
B7 Soldier Boy Blues 4:03



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