UNITED SOUND SYSTEMS DETROIT RECORDING CENTRAL FOR FUNK, MOTOWN, R&B, BLUES
A fixture in the Detroit Funk, Blues, Soul, Jazz, Rock-N-Roll community for over 50 years... The " Bridge Project" started here at the source of all this great Motown music. If you want to get the actual sound of Funk, you gotta find the best Detroit musicians and record in this iconic space. And so our adventure begins at this original recording studio where many of the Detroit super musicians still have strong ties to this day.
United Sound Recording Studios is where all the great early recordings started. From Jazz-Motown- Berry Gordy got his start..
United Sound Systems Recording Studios is more than just a Recording Studio – it is an institution which birthed a musical legacy which we still thrive upon. Established in 1933 by Jimmy Siracuse, it became the first independent and full service major recording studio in the nation and created a platform which gave artists, musicians, writers, and producers the ability to record music, cut the record and get airplay without being signed to a major label. What started as a hub for commercials and advert jingles, in the 1940s would become where Charlie Parker, Max Roach & Miles Davis recorded BeBop Jazz Standards, and John Lee Hooker recorded ‘Boogie Chillun’. Thereafter, artists such as Little Willie John, Jackie Wilson, and then songwriter Berry Gordy, who recorded Tamla/Motown’s first release at United Sound Systems in 1959; Marv Johnson’s ‘Come To Me’ (Tamla 101).
1960's home of the hits. Don Davis from Motown and Stax to Disco Lady.
Throughout the 1960s, United Sound became home to hits by Bob Seger (“Ramblin’ Gablin Man” & “Heavy Music”), The MC5 (“Back In The U.S.A”), and many of Detroit’s rock & roll luminaries. However, Don Davis, a producer who worked for Motown and Stax records would revitalize the Stax Records catalogue by recording albums such as Isaac Hayes’ “Hot Buttered Soul”, “Shaft”, and Johnnie Taylor’s “Who’s Makin’ Love”, and the Dramatics’ “Whatcha See Is Whatcha Get” at United Sound. Don Davis purchased United Sound in 1971, and continued to nurture the studio that would then change the landscape of the music industry by producing the very first Platinum Single – Johnnie Taylor’s “Disco Lady”.
1970's- sound of the P-funk..
In the 1970s United Sound Systems was a revolving door for the who’s who of the industry elite (such as Gladys Knight & The Pips, Albert King, and Al Hudson & One Way), but also a then local rock band called “Death”, who created a sound so far ahead of its time that it recently gained recognition. That was also the era that George Clinton and Parliament/Funkadelic created the sound that became known as “P-Funk”. Songs like “Give Up The Funk (Tear The Roof Off The Sucker)”, “Mothership Connection”, “Flashlight”, “One Nation Under A Groove”, “(Not Just) Knee Deep” and “Atomic Dog”, are still as infectious as they were when they were created at United Sound. Also, P-Funk bands such as Bootsy’s Rubber Band, The Brides Of Funkenstein, Parlet, Fred Wesley & The Horny Horns, ) all recorded their major works here, well into the 1980s, when George Clinton discovered a band called “The Red Hot Chili Peppers” and recorded their first major album ‘Freaky Styley’ here at United Sound.
1980's-90's Aretha, Zapp, Doobie Brothers..
Within the 1980s and 1990s, pivotal moments which happened at United Sound seem to be out of a fairy tale: Paul Riser, the famed arranger for Motown, conducted the orchestra for hits like Luther Vandross’ ‘A House Is Not A Home’ and R-Kelly’s ‘I Believe I Can Fly’. Also, The Rolling Stones Joined miss Aretha Franklin for an updated version of their hit “Jumpin’ Jack Flash”, which was used in the movie of the same name with a fresh-on-the-scene comedienne named Whoopi Goldberg. A video for this was made the same day as the recording and featured in the 1986 film.
funk recordings New York Oct 31
After the recording at United Sound Detroit, our engineering team moves to New York City.
It was the night of Halloween October 31. P-funk had just finished a fantastic set at the legendary BBKINGS club in NY. After the show, we got to talking. Several of the musicians wanted to record and create new material. Fresh from a long stretch of touring, ideas were flowing and the musicians wanted to capture this newfound energy. We worked through the night getting a recording studio ready for the next morning. Equipment was trucked in, Danny needed a Moog, Benzel needed drums. Lige already had his amazing bass. In just one long afternoon, the team of Danny, Lige and Benzel recorded a ton of new material. The band then flew out and we continued our recording.
Danny Bedrosian tracked some melodies and rhythms, some very funky Moog and even played the Steinway piano in the corner. The band was smoking that day and wrote so much material we have enough for a whole nother album.
The bass was so funky..
Lige Curry was in top form and isn't that a cool wooden bass? After a blistering pace of touring across the US, Lige was writing and playing melody lines while simultaneously laying dow a deep groove. There was no rehearsal and no set agenda! Ideas were suggested and the band went for it.
goggles on-drums are blazing..
Benjamin Benzel Cowan has been playing drums in the P-funk universe since he was a kid. Today he was strong, powerful and artfully picked beats and rhythms that blended perfectly with Lige and Danny. The night before at BBKings, Benzel was blasting on th drums. On a minutes notice, the studio could only supply a lightweight jazz kit. This is not meant for a funk-rock drummer who operates at high velocity. Benzel tore through the drum heads and we had to hold that kit together with duct tape and blankets.
BlackByrd Mcknight wrote some