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Title The Best Of Acid Jazz Artist Various Artists Format: CD Cat. No.: METRCD050 Barcode: 698458105028 Playing Time: 76.42

As a direct reaction to Acid House, Djs Chris Bangs and Gilles Peterson rechristened the cool underground Rare Groove and Afro-Cuban club scene of the late 80s, ‘Acid Jazz’. To keep the scene and the sound alive, Acid Jazz records was created and this CD brings together a selection of anthemic tracks from the label, enabling you to relive one of the funkiest eras in club history.

1. The Brand New Heavies – Never Stop 2. Vibraphonic feat. Alison Limerick – Trust Me 3. JTQ - Love Will Keep Us Together 4. Snowboy Feat. Noel McKoy – Lucky Fellow 5. Mother Earth - Jesse 6. D’Influence - I’m The One 7. The Subterraneans - Taurus Woman 8. Quiet Boys feat. Galliano - Let The Good Times Roll     9. Ace Of Clubs - Everything's Going To The Beat 10. The Brand New Heavies - Dream Come True 11. The Night Trains - Lovesick 12. Mother Earth - Stoned Woman 13. JTQ - Whole Lotta Love 14. Sunship - Sunship 15. Galliano - Fredrick Lies Still         Sleevenotes   To those who didn’t understand - and there was a lot - Acid Jazz, both the label and the genre was home to a bunch of light-weight noodling that didn’t count for very much. They were wrong of course, but they were often the mainstream music media and whilst this didn’t hurt whilst it was a successful movement with hundreds of thousands of fans worldwide - in retrospect it now sometimes gets a little over looked. London in the mid 80s had a thriving warehouse party scene and a lot of club nights. They ran the spectrum of music from upfront soul to hip hop but there was a strong liking of old funk and soul which eventually became labelled as Rare Groove. In the south east this became popular enough to propel the likes of Maceo and the Macks‘ Across The Tracks into the national charts. However there was really nothing happening outside the capital and when black America’s latest discovery hit these shores with a vengeance it all but wiped out rare groove. Its prevalence also almost wiped out another one of London’s clubbing experiences - jazz dance. However with their eyes on the main chance DJs Chris Bangs and Gilles Peterson started playing funky jazz, a touch of soul and hip hop instrumentals alongside their more normal latin and soul jazz grooves and called it ‘acid jazz’. With clubs such as the Cock Happy and Talking Loud at Dingwalls they attracted not just their old following but a bunch of renegades from rare groove and in fact anyone who didn’t want to bow to the tyranny of the 4/4 beat. The next step was to set up a label. This was done by Peterson alongside Edward Piller, who had just closed down his own label Countdown after its distributor Stiff had gone under and was managing the hottest act on the acid jazz circuit the James Taylor Quartet. They named the label Acid Jazz and released the 1st record in June 1988 Galliano’s awesome cover of ‘Freddie’s Dead’, Fredrick Lies Still’. Over the next year some weird and wonderful records were released. Many were jazzy - Ed Jones, Bukky Leo - some were odd - thank you Chris Bangs. Some were from people who just hung around Dingwalls - The Last Poets, The King Truman record which was in fact the Style Council. Others were awesome such as Chris Bangs’ Quiet Boys project single with Galliano Let The Good Times Roll. Peterson upped and left in 1989 to go and start his own label with Phonogram. Piller had an ace up his sleeve in the form of the Brand New Heavies who everyone had thought were a washed up relic from the rare groove days - but actually with a little faith proved to be a nineties equivalent of the Average White Band with a bunch of great songs and the funkiest of rhythm sections. ‘Never Stop’ was a top three single in the US RnB charts, whilst a Joey Negro remix of ‘Dream Come True’ was the band’s first top 40 single in the UK. Just as the Heavies broke through, Acid Jazz hit their stride with acts actively coming to them wanting to do a single an album or anything just to have a touch of acid jazz magic sprinkled on them. This became more prevalent after the signing of Jamiroquai - who were quickly poached by Sony – and catapulted the label world wide. However tracks such as ‘Everything Is Going To The Beat’ - a big fave of DJ Todd Terry - came via its producer Paul Heard who was soon to go on to fame as part of M-People. Marco Nelson from the Young Disciples was another one who Acid Jazz were always trying to get to work with them. It came off a couple of times, the most successful was his collaboration with Max Beesley (now known for his acting and going out with Mel B from the Spice Girls) ‘Taurus Woman’ by the Subterranneans. Another one off project was the street soul sound of D - Influence, whose I’m The One perfectly captured what soul should have been doing in 1990. More permanent soul things came from a few acts most notably Snowboy, whose main career at Acid Jazz was to make a series of latin jazz albums, but every so often he would kick back and make an EP of perfectly crafted sounds covering his other musical loves. His cover of Leroy Hutson’s ‘Lucky Fellow’ is a case in point. Another artist who slipped from soul to latin was Roger Beaujolais who as well as his latin jazz band had a fantastic fusion outfit called Vibraphonic. Their first single - the sublime ‘Trust Me’ featured the vocal s of Roger’s then girlfriend Alison Limerick who was riding high in the charts at the time. The Night Trains, whose fantastic ‘Lovesick’ still works any dancefloor I know were one of the first acts on the label but were sporadic in their output. Sunship - now a don of the UK Garage scene - was in fact Ceri Evans and his contributions to the Acid Jazz legend were always welcome whether it was adding keyboards to records by the Brand New Heavies or coming up with great tunes of his own. This just leaves us with two of the label’s most important acts. Mother Earth were an act of whom a lot was expected, they built up an impressive fan base after their first album, always rocking the crowds with the mighty title track from their debut album ‘Stoned Woman’. Their 2nd album ‘People Tree’ weaved melody, rock and soul to an incredible level and although it sold well all over the world it never quite broke through, despite including the awesome ‘Jesse’. By the time of the third LP the writing was on the wall - with the band’s main songwriter Matt Deighton already having released a solo album. It was a shame, but a highly enjoyable one at that. To many the JTQ represented Acid Jazz but despite their close connections with the label they were never signed until early in 1994 with the label already 6 years old. By that time JTQ were one of the top live draws in the country and Acid Jazz set about making the LP the band should always have made. From it we have drawn the chart single ‘Love Will Bring Us Together’ and a cover of Led Zeppelin’s ‘Whole Lot Of Love’ which was slated as a single release but was pulled at the last minute.