Panache - Every Brother Ain't A Brother 12"

Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well. Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’.

A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion that blends the vocal and instrumental mixes into an extended 12 minute ride.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects. Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers.

Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’. In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album.

Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible. By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.” After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes.

Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs. credits

Panache - Every Brother Ain't A Brother 12"

Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well. Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’.

A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion that blends the vocal and instrumental mixes into an extended 12 minute ride.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects. Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers.

Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’. In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album.

Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible. By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.” After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes.

Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs. credits

Grading

Mint(M)

Record Grading Guide:

  • Mint (M) – Absolutely perfect in every way. Never been played and usually sealed.
  • Near Mint (NM) – The record has been on a shelf between other records. The vinyl looks glossy and clearly has only been played a few times. There are no marks on the vinyl and the whole package is complete.
  • Excellent (E) – Same but I’d tolerate very light marks where the vinyl has been in and out of the inner sleeve a few times, or tiny signs of use generally.
  • Very Good Plus (VG+) – A few further faults are acceptable, but nothing that really compromises the record visually or audibly. A little rub, light inaudible marks, a little background crackle.
  • Very Good (VG) – It’s seen a bit of life, but is still usable. Light pops and clicks, an edge split, light visible scratches. You can still listen to it and enjoy looking at it, but it is visually and audibly USED.
  • Good (G) – To be honest you’re making trouble for yourself here, as Good means Bad. I’d only be selling something really desirable in this condition, with a bargain price and a full, no holds barred description to match.
  • Poor (P), Fair (F) Attempting to listen will be a disturbing experience. Expect major noise issues, skipping or repeating. The record itself is cracked, badly warped and has deep scratches. The cover is also approaching death.

Genre

Funk,Soul,Disco

Sample

#RICHMEDINA45BAG



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