Have you ever taken a musical journey from The Atomic Dog to Rock Lobster? Push Play and I will do the rest.
Protecting The Original Mothership
Updated 22 July 2020
United Sound Systems Recording Studios (United Sound) was the site of numerous well-known recordings, including those by the most popular artists of many genres. Jazz greats like Charlie Parker and Miles Davis, blues legends like John Lee Hooker and Alberta Adams, soul singers such as Aretha Franklin and Isaac Hayes, funk groups like Parliament and Funkadelic, and rock bands like Death and the Red Hot Chili Peppers, not to mention various musicians from other genres, all recorded at United Sound. Marv Johnson‘s “Come To Me” was recorded there and released in 1959. It was the first single on the Tamla record label, the precursor of Berry Gordy‘s Motown.
Since 2012, we have been the leading advocate for United Sound’s historical legacy. We spearheaded the process to create a historic district for the site in 2015 and then helped raise the funds for a two-sided Michigan Historic Marker which was erected in 2017. Both of these efforts led the Michigan Department of Transportation to change its mind about having to demolition the property for the expansion of I-94.
Today the struggle to protect and defend United Sound Systems continues! If you have any questions please contact us via email at info@detroitsound.org or call direct at 313-757-5082
Update 2019
On Friday, January 11, 2019, Michigan Department of Transportation announced the purchase of United Sound Systems and their intention to move, preserve, and eventually resell the building. Via Michigan Radio: “This is the first day that we know of when the Michigan Department of Transportation said out loud that it’s a bad idea to demo the building, and that they will preserve the building. And so we’re going to take that as a win,” (Executive Director of DSC) Carleton Gholz said. Gholz said he hopes there is a historic covenant or “some sort of understanding” with any future owner about preservation and operating the space as a public good, “and we are hoping to impact that process in any way that we can.” “This is not just a building. It’s not just a business. It really is the center of Detroit’s musical 20th century,” said Gholz. Read more here: http://www.michiganradio.org/post/detroits-historic-united-sound-systems-studio-spared-demolition
Read MDOT’s Press Release here:
https://content.govdelivery.com/accounts/MIDOT/bulletins/2279917?fbclid=IwAR0PnZhZHMVv1ANYLjetA_9ThkCahztsgLA0c6ZNgcMVgdfSIMfUrA
From Wikipedia, the free encyclopedia
“Flash Light”
Flashlight45.jpg
German picture sleeve for the single “Flash Light”
Single by Parliament
from the album Funkentelechy Vs. the Placebo Syndrome
B-side “Swing Down Sweet Chariot”
Released January 1978
Recorded 1977
Genre Funk[1]
Length 10:42 (extended 12″ version)
5:46 (album version)
4:28 (single version)
Label Casablanca NB 909
Songwriter(s) George Clinton/Bootsy Collins/Bernie Worrell
Producer(s) George Clinton
“Flash Light” is a song by funk band Parliament, written by George Clinton, Bernie Worrell, and Bootsy Collins and released in January 1978 on the album Funkentelechy Vs. the Placebo Syndrome.[2] It was the first #1 R&B hit by any of the P-Funk groups and spent four months on the U.S. pop chart, peaking at #16.[3][2]
The track became Parliament’s second certified million-selling single, following “Give Up the Funk (Tear the Roof Off the Sucker)”.[4] “Flash Light” also gave Casablanca Records its first #1 R&B hit. In New Zealand, the song reached #3[5] and is ranked as the #8 hit of 1978.[5] “Flash Light” also charted in Canada (#24) and reached #3 on WLS-AM in Chicago.[6]
Contents
1 Background
2 Impact and legacy
3 In popular culture
4 Charts
4.1 Weekly charts
5 Certifications
6 References
7 External links
Background
The song’s distinctive bass line is often attributed to Bootsy Collins and was originally written for him. However, Collins rejected the part and Bernie Worrell created the line on at least three, possibly four connected Minimoog synthesizers. Worrell also played all the song’s keyboard parts.[7] The New York Times described Worrell’s synthesized bass as “[a] descending and ascending chromatic line with a meaty tone and a certain swagger, an approach that would spread through funk, new wave, electro, synth-pop and countless other iterations.”[8]
Collins contributed to the track by handling drum duties while his older brother Catfish Collins played rhythm guitar. Lead vocals were by bandleader Clinton. Clinton credited Worrell with the idea of composing the song under a motif. Starting out as a jam, Clinton recorded multiple tracks, layering up to 50 voices within the theme of an inclusive love song. The “Da da da dee da da da” chant was based on a chant from a dance at a bar mitzvah party that Clinton had heard from a friend.[9]
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