I’d been going to Bremen for several years and had gigged there with the Big Town Playboys many times. I was introduced to some great musicians with a view to doing some club gigs. We concentrated on playing funk things and Blue Note type tunes, Turrentine, Cannonball Adderly etc. It never occurred to me to use any original material, I had written tunes and parts of tunes, but nothing in any really playable shape. The gigs were great and the response was fantastic. Having worked on my material we began incorporating original tunes into the set and things began to take off.

After some changes in the line up and several very successful gigs, I finally felt it was the right time to record my first album. I had heard some of the rough tracks from Peter Muller’s solo album and was knocked out with what he was doing, so I asked him to produce my album with me. Peter made me look at the music in a different way. I’d always loved the rap and hip-hop thing and Peter brought some of those flavours to the album – he is incredibly creative with sound. We also recorded two of his tracks for the album.
The basic tracks for the album were recorded live over three days in the big studio “les Palais Etoiles” in Bremen in order to capture the fantastic energy of the band. We took the recordings to Peter’s studio, Wave Island, and the real work began. I invited my old buddy Tim Cansfield to play on the album. He came over to Germany for two days and we had a ball! He played amazing rhythm guitar – he’s our version of Paul Jackson Junior and grooves like a M.F!

After all he main recordings were completed we spent time experimenting with contemporary elements and adding stuff like loops and samples to give it a little more flavour. I wanted additional horns on a couple of tracks, so Christian Kappe came in and put down trumpet and flugel horn. Peter and I spent a lot of time staring at screens and bouncing ideas off each other before coming to a consensus on the final mixes. We were looking for a contemporary sound with the mastering and found exactly what we wanted in Muhammed Paul. He’s one of the best R+B mastering engineers around.
I decided to release the album on the Mullenium label because it gave me the best possible freedom and control over the album.

The big thing was that it was such fun to record this album; I’ve never enjoyed myself as much. Anyway, many flights later and here it is…

Hope ya dig it,

Peter Muller: Bass, Production

Peter is a very dangerous bass player. He’s a funk freak, which is why I was drawn to him. Peter really made this album come alive for me. It’s without a doubt the best working relationship I’ve ever had with another musician. He’s a real mutha!
Tobias Neumann: Keyboards

When I first heard this guy I thought, “I’ve got to have him…” He’s simply the best keyboard player I’ve ever worked with. He just plays really out of sight solos and usually in one take. Amazing player!
Oliver Spanuth: Drums & Percussion

Ollie is a very musical drummer and a really badass funk player. He crosses idioms with no trouble and is the only drummer I can really play a successful duet with, he reads me like a book, I love to stop the band sometimes and just leave him and I playing.
Tim Cansfield: Guitar

Tim is usually with the Bee Gees and he’s on the latest Annie Lennox album. He’s also worked with people like Stevie Winwood. He is absolutely my favourite rhythm guitarist. Groove, sound, good humour. The best. I was knocked out to get him for the album. Peter and I were open mouthed at what he was laying down. A real killer!!!
Christian Kappe: Trumpet & Flugelhorn

He’s a top-flight trumpet player and currently works with Barbara Dennerlein. He put some great trumpet on ‘Phat’ and layered up trumpet and flugel for ‘All God’s Children’. He got exactly that South African township sound I was after.
Dave Ital: Guitar

Dave is a very successful London based player and is often to be found working with bands like The Sugababes and Tom Jones. Dave and I have worked together on and off for a number of years and his style perfectly complemented ‘A Whiter Shade of Pale’.
Steve Wieters: Guitar

Steve’s an old dog like me and certainly brought a lot to the table with the tunes he played on, particularly ‘All God’s Children’, where it is obvious he understood the whole African guitar thing.
Ulle Rode: Guitar

Ulle came highly recommended. He plays some beautiful guitar on ‘Hey It`s Me’ but he is also a really greasy funk player. I love that he turned up for a rehearsal with the band using an old Stratocaster and a valve amp. Great sound. Plays right on the back end of the beat, just where I like it.