There is a whole lot of claiming who did what when and where first as far as the origins of house music are concerned, and I do not intend to complicate the matter even further. But Colonel Abrams produced an 8-track tape with Boyd Jarvis and Timmy Regisford as early as 1982 which included this, and a lot of the legendary DJs in New York City and Chicago and beyond were rinsing it. Just saying!
Colonel Abrams – Music Is The Answer (1984, Streetwise)
There is a whole lot of claiming who did what when and where first as far as the origins of house music are concerned, and I do not intend to complicate the matter even further. But Colonel Abrams produced and released this track as early as 1984, and even more of the legendary DJs in New York City and Chicago and beyond were rinsing it. Just saying!
Colonel Abrams – Trapped (1985, MCA)
Still a house prototype, but now he paired his inimatibly determined vocal style with the shoulder pads and fierce dance moves of the day and stormed the charts. It was about time!
Colonel Abrams – Speculation (1985, MCA)
The second hit of his breakthrough and glory year. Handclaps galore and another bold funky groove, mixed by NYC club music protagonist Timmy Regisford.
Colonel Abrams – Over And Over (1985, MCA)
A mighty fine demonstration that Colonel Abrams could well navigate his way beyond punchier dancefloor imperatives. A slick and beautiful R&B ballad, both in tune with other productions of mid 80s post-disco reality, yet still very much him doing the own thing he created.
Colonel Abrams – I’m Not Gonna Let (1985, MCA)
This is basically a sequel to „Trapped“, but not a few people would say it is even more irresistible. I am most probably one of many going out to clubs in the mid 80s who observed this did not go away for a long time, and got them all dancing everytime it was played. And it still does.
Colonel Abrams – How Soon We Forget (1987, MCA)
Only adding a bit of the piano stylings introduced by the Chicago house producers he paved the way for, Colonel Abrams still rode his sound in 1987. Only by then he faced a lot more competiton in terms of club music, and his efforts to satisfy the pop market with slower R&B tracks suffered from the lack of distinctive hits. Sadly he seemed to get lost in the middle and his promising career slowed down considerably. Still, this is up with what led him there in the first place.
Funktion Feat. Colonel Abrams – As Quiet As It’s Kept (Soul Creation, 1993)
After a failed attempt to revive his career as a soul singer on a 1992 album on the Scotti Bros. Label, Colonel Abrams retreated to being a vocal feature for hire on house records throughout the 90s. Even if his voice still stood out as ever, many of said releases were lacking the potential to re-establish him on a level worthy of his beginnings though. Thankfully he found a fitting production counterpart on a string of records he made with the US Garage dons Smack Productions/Mental Instrum. And yes, this is the original template for DJ Dove’s holy grail „Organized“.
Mental Instrum Feat. C.A. – Should Be Dancin’ (Freetown Inc, 1994)
Another supreme example for the congenial drive and fierceness of the collaborations between Colonel Abrams (his real name actually) and the Smack camp. Eventually there was album compiling their finest moments together, but it also failed to get his career on track again. By this point he settled on guest spots on club music records, or had to, with mixed results. Sadly nobody had the idea to give him the opportunity, team and budget to reinvent himself as the soul singer he should have been, and he vanished from sight in the years to come.
Omar S Presents Colonel Abrams – Who Wrote The Rules Of Love (2011, FXHE Records)
It was one of the most memorable moments of my time working at Berlin’s Hard Wax record store to discover that Omar S had done this record together with Colonel Abrams after the latter’s several years of silence, and then listening to it, floored by how good it was. In a way his career had gone full circle, with beautiful music produced in way that made both the song and his breathtaking voice shine. I was really sure that this record would not be the last time I ever heard him on a new record, but then it was. I was shocked to learn about the troubles he had, and that they eventually led to him passing away, and I cannot separate this song from his incredibly sad story anymore. But what a song!
In discussion with Shanti Celeste about “Set It Out” by Omar-S (2003).
So what was the first time you heard this track?
I wish I could say it was in a club where I had a life changing experience bla bla bla, but it was actually a much more ordinary scenario. I was buying some birthday records on Juno just after it was repressed in 2009. I didn’t know much about Omar-S at that point, had heard the name once or twice, but that was about it. So the answer to that question is – the first time I heard this song was on the mighty Juno player.
What drew you to it? The simplicity of the groove? The addictive synth line? How it erupts into a heartfelt song? Or something else? Or all of it?
All of it! The vocal and the beautiful rolling pad in particular though, then the nice toms and the clap, too! I just think it’s a beautiful track, it can make you feel so happy and grateful. I love singing so I just start belting out along with it as soon as I hear it or even when I play it in a club. It is just so simple but so powerful.
For me this is foremost a prime example of a very fine Vocal House record. Lyrics, singing and sound work perfectly with each other. It seems nothing is missing, and there is nothing to improve. But is it really as simple as it sounds?
Yes and no, there isn’t that many elements which I guess is what makes it simple, but it is cleverly constructed. I always think that spreading a synth line across four bars creates more interest because it gives room for all the other elements to play without sounding too loopy and repetitive, even if it is that way. Also let’s not forget what a great vocal can do to a track, in some cases it can completely transform it.
I think his track „Who Wrote The Rules of Love“ with Colonel Abrams also comes close to what Omar-S achieved with „Set It Out“. Are you a fan of his in general? Are there other tracks you like nearly as much?
I agree, that’s also really good and again a perfect example of a good Vocal House track, if I’m putting it down to just a feeling though, I prefer „Set It Out“ but they are so close! These are probably my two favourites. I do like a lot of his others as well, he has done soooo much! One of my other favourites is him and Kai Alcé’s „Not Phazed“.
I like that Omar-S is absolutely not very fussy about either producing or marketing what he produces. He is not very concerned about other opinions on what he does either. Is this the way out of modern PR obligations, just delivering the tunes?
I think part of it is a way of delivering tunes! Imagine if he did the whole PR thing every time he released a record, especially at the start when he was releasing lots, it would be a PR overload! And now people trust him and will probably buy his records anyway.
There is whole lot of discourse about Detroit in club culture. But does the origin of Omar-S really matter with „Set It Out“?
To be honest, I’m not sure. To me it just sounds like Omar-S!
UK also has a healthy tradition with Garage House, even if it evolved into something different. But to my ears the production of this track is not too dissimilar to UK club styles, or am I wrong?
I actually think there are other more garage-y tracks from Omar-S that sound more similar to UK styles. „Set It Out“ is quite straight and I always think of UK Garage House as a lot more swong. But I guess that“s the beauty of music, eh? Everyone hears it in they’re own way.
What is important if you infuse a dance track with vocals?
Tricky, I will always notice a good vocal track if I like the vocal and the way that it’s been placed on the track. It’s very important that it’s effortless and soulful but not trying to be too gimmicky and „classic house vocal’. Also sometimes it helps if they use the whole accapella, like in „Set It Out“, or if it’s a vocalist that they arrange with more of a song structure. I like the way it sounds when it’s chopped as well but it has to be done right. Basically, it has to to work great and not just for the sake of it.
I must admit that I much prefer this kind of vocals in a dance track to the majority of tracks of recent years that include a singing style usually more associated with indie records. But I would not go as far as to maintain you cannot create a good club song without a Soul aspect. But what does a good club song actually require?
For me it requires a physical and an emotional aspect. So a really good groove that you just can’t help but dance to and a melodic aspect of some kind. I’m not saying it has to be super melodic with noodly bits everywhere, although that’s the route I tend to take because I just can’t help myself. But something to go along with the groove that’s making you dance your ass off.
Is there a way that „Set It Out“ is reflected in your own productions?
Maybe yes, it’s probably influenced me in more ways than I know considering that I have listened to it so many times over the years!
The defunct Face magazine used to have these little messages at the bottom of their last page. I always have this one particular issue in the back of my mind where it read „Vocals matter“. But do they still?
Lushus Daim & The Pretty Vein – The One You Love (Disconet) Elevation – Traitor (Razormaid) The Weather Girls – No One Can You Love More Than Me (Disconet) Risque – Starlight (Disconet) Natasha – AM-FM (Disconet) Colonel Abrams – Over And Over (Disconet) Swing Out Sister – Surrender (Disconet) Eighth Wonder – I’m Not Scared (Razormaid) Propaganda – P Machinery/Frozen Faces (Razormaid) Propaganda – Dr. Mabuse (Razormaid) Do Piano – Alone (Razormaid) Cabaret Voltaire – Sensoria (Razormaid) Skipworth & Turner – Thinking About Your Love (Disconet) Alphonse Mouzon – I’m Glad That You’re Here (Disconet) Miquel Brown – Close To Perfection (Lightspeed) Bucks Fizz – I Hear Talk (Disconet) Cabaret Voltaire – Don’t Argue (Razormaid) Pet Shop Boys – West End Girls (Razormaid) Miami Sound Machine – Falling In Love (Uh-Oh) (Disconet) Grace Jones – Pull Up to The Bumper (Disconet) Was (Not Was) – Robot Girl (Razormaid) Kid Creole – Endicott (Razormaid) Pet Shop Boys – Domino Dancing (Hot Tracks) Risco Connection – Ain’t No Stopping Us Now (C.S.) Sparks – With All My Might (Disconet)
Stefan Goldmann – Peak Phosphorus Ajukaja & Andrevski – Rare Birds Death Comet Crew – Galacticoast (Gifted & Blessed Remix) Francis Harris – You Can Always Leave (Curtains) (Remix By DJ Sprinkles) Mari Kvien Brunvoll – Everywhere You Go (Villalobos Amnesia Rehabilitation Dub) AM Version Feat. Alona – For Our Love (Monty Luke’s Westcoastluvmix) Terre’s Neu Wuss Fusion – A Crippled Left Wing Soars With The Right (Steal This Record Remix) Theo Parrish – 71st & Exchange Used To Be… Denaji – Dharma Drama Omar S. Detroit – Who’s In Key Omar S Presents Colonel Abrams – Who Wrote The Rules Of Love Rick Wilhite – My Life Is A Minimal Circle Jovonn – Welcome, Dance Terrence Parker Feat. Reno Ka – Finally (Backroom Mix) Pollyn – Sometimes You Know (Moodymann Remix) DJ Skull – Promise Of Peace Kouji Nagahashi – 2 (Last Dance Over Me) Lorna Dune – Miamisphere (Terekke Remix) Hakim Murphy – Chicago Head (Skyway Remix) Joe – Punters Step Out Heatsick – Speculative Moodymann – No Charles Manier – Sift Through Art Collecting People
My first appearance at the seminal Betalounge, live at its premises in Hamburg. I was scheduled to play an old school house/disco night in town so I played what I prepared for that. The location was a place were people were usually hanging out in the afternoon before they hit the nightlife, but I had the whole place dancing at some point. I was particularly honoured that many friends and other DJs showed up, including Vienna’s hip hop legend DSL, whom I always really admired.
You really cannot underestimate the impact of the Betalounge. Operating from San Francisco and Hamburg they were the Boiler Room of those days. Just check their vast archive and you will know what I mean.
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