The Brother's Johnsons were studio musicians under band leader Quincy Jones. In some ways, the Brother Johnsons image were spoon fed to their audiences. Therefore to some degree, I believe the band was not fully able to create their own individual quality we would fully appreciate.
I never liked the name The Brother's Johnson because it contradicts the other members who were also outstanding musicians, and yet the name forced our attention to Lewis and George. I understand branding, but I personally didn't believe they made enough of a name for themselves for people I was listening to in those days. I just believe, The BB made it too fast. It was like, from out of nowhere... I waken from sleep, and just like that... here's a new tune from the Brothers Johnson. Heck, I was wondering where was the old Brothers Johnson...? Who are these young cats, what is their angle? (there's always an angle...)
Then I realized, they were put there by Quincy Jones, my door swung open, because I love Quincy Jones music. Yeah, The BB had the QJ card, and that was the ticket for me to check them out deeper, without any screening. So from a listeners perspective, I invited the Brothers Johnson in my house with open ears.
However, from a business perspective, the Brothers Johnson was disbanded just as fast as they were created. These are the lessons when you are given the nod from the powerful Quincy Jones.
Quincy Jones created a solid FUNK Band...
That was the only angle I could see... and it worked.
But, I must say, I do feel like something was deeply lost when bands are created by executives types. However on the very opposite end, was when Berry Gordy was introduced to a young cat name Rick James.
I agree #12, Lewis bass sounded awful in that live recording. Yes, and I am sure -- it was his bass too.
One of the things I loved about Stanley Clarke, is his ideas on authenticity. Stanley would never use a substitute bass from the original work.
On the song Strawberry 23, Lewis Johnson used an Alembic, and I seen him live with the same Alembic back in the 70's.
So, to use another bass for the attribute of such a song, is like using a nylon clip-on tie compared to a 100% true (full laced) - silk tie for the occasion. I just don't get it...
But, I believe it's pretty clear, Lewis Johnson's relationship with Alembic basses were very short lived, and was of an affair, and not nothing serious anyway.
I think Lewis Johnson loves Bolt On basses -- that's his thing...
Peace and Love,
Hal-
(Message edited by toma_hawk01 on August 04, 2010)
