Nightwind - Why Can't We

This post is LONG overdue. You see, we here at Sound Boutique had made this track the first release for our record label. While that diverted some attention and energy away from this blog it was a necessary journey for me. And, a completely enjoyable and fascinating voyage for all involved. My right hand man in all of this, Luke Holton, the creator of Nightwind, can attest to the joy it's been for us.
It started with me scoring this Nightwind original 45 from a French record dealer. I liked this b-side so much I had to have it. It wasn't the normal uptempo funk or boogie bangers that I was usually after. But, it signified a newer development in my tastes and a direction that myself and the entire Sweaterfunk crew were taking... a turn to more mellow tempos, slower burners to break up the party rockers. Also happened around the time we started turning to two step and mid tempo jams. All greatly influenced by Dam Funk coming to share his mid-tempo jams, and spawned from his original mid-tempo themed night.

Nightwind circa 1981

It wasn't until later, actually after having the 45 for some time that I realized there was a fantastic uptempo party rocking flip side to this great record. Once I realized that this was golden either side you played, I started to try to track down the artists. Spoke with Fred Walker on the phone, yes he's the sax man on the beginning of this song, and he told me how to find Luke. Spoke with Luke next and he was thrilled to hear someone was into the music had made years ago. Once he told me the tapes were still laying around somewhere it was quickly decided to make it happen and put this song to wax once again.

Nightwind circa 1979

I set a date for release and so glad I did. If I hadn't, this re-release might never have seen the light of day..you know, people get busy..life kinda takes over. Anyways, the date pushed everything along and made it happen. Also, Luke was once of the nicest guys you could do this kind of thing with..an exceptional gentleman, a real sweetheart and a creative genius. So, without his kind, loving approach, and stamp of approval this would have never happened.
Loads of amazing and exciting things have happened since we first put it back out in November of 2011. First, we sold out within less than a year (and keep in mind, almost NOBODY knew of this record). Second, Luke discovered a video the band made for a local public access channel in St. Louis. Third, more tapes were discovered with MORE amazing Nightwind material..things like 'Spaceman', and multi-tracks with stuff like 'Mr. Silky's Rap'... be sure to check out the videos down below.

Leading lady Janet Savage and Nightwind
performing on a local public access TV show 

After a surprise guest visit at Lipo for Sweaterfunk, an interview with our fam and numero uno homie Ken Maxx (K-Maxx) on KPOO and people playing this song from New york to Australia, from France to Japan, it's official Nightwind is loved universal! Luke has also told me he has taken back up his piano playing and now regularly plays solo piano at a local club. Fantastic. This has been good for all of us. Now, we're about to press up the 3rd run of the re-issue, finally press the long awaited 'Spaceman', and working on a TON of other material all found on 10 multi-track tapes. It's a frickin' dream.

Ken and Luke, the Night-Maxx connection.
Super big thanks to Ken and the legendary KPOO

The biggest thanks to Nightwind, Luke Holton, Fred Walker, Janet Savage and the music loving crowds at Sweaterfunk for loving this tune. These songs, and Nightwind in general championed Sound Boutique's existence as a record label, and now we're devoted to sharing more music via that channel.

Somewhat minor but important details about the release of these songs.
Absolute first pressing in 1982 is on Star City Records.
Second pressing on Sound Boutique is from 2011, has two styles one with center hole
punch, one without. Both are from same run in 2011. Pressing plant mistake that we went with just to see the differences.
Third pressing is a black and silver label from 2013.
Fourth pressing hopefully coming soon as the 2013 run is almost gone.

thee first pressing...and thee hardest to find.
1982

Sound Boutique's proudest moment and first
release from 2011. 

Same as first batch released in 2011, but quantity
was sent back to pressing plant to have center holes
removed like originally designed. turns out we liked both!

2nd Sound Boutique pressing. We decided to
redesign to contrast from 2011 version

This second run was released in 2013

You can still get a copy of this record by going here...
http://soundboutique.bigcartel.com And make sure to peep all the videos here..






For the sake of still selling our track and Luke actually getting his royalty we're NOT sharing the mp3. You can hear the whole tracks via these youtube posts. We hope you will support Nightwind and Sound Boutique Records by buying a copy of the vinyl. thank you.







Oh yeah, and this test pressing of the 2011 version...

release deadline was so close to the record release party,
we only had the test pressings available! They are now ridiculous RARE!

Oliver Sain - On The Hill

My first experience with Oliver Sain was somewhat checkered. I had a relatively bad first few outings when discovering his records. His first record that I found was 'Blue Max', a really cool 'looking' record with hip people on the cover dancing in some sporty dance spot. Turned out to not be the greatest of albums, probably third on his list of three LP's for my tastes. Yet, this was an album that registered a few hits for him with 'Party Hearty' and 'She's A Disco Queen' but quite possibly ended his disco efforts at the time. Then, if luck had meant for us to not meet again, I found 'Bus Stop'. Also looked promising, featuring a double exposure of people getting on a bus. This LP also had a few songs that charted for him including 'Booty Bumpin' and the title track. This LP 'Bus Stop' also prompted a UK tour and wider exposure. Again, looked a lot cooler than it actually was. Not to say that it wasn't good, just not mind melting instrumental heavy weight funk, which was what I was really looking for at that time.

Keep this in mind...these LP's are all amazing works of groove jazz and discofied funk. All of them are top notch. When I say I wasn't initially impressed, please keep in mind I am SUPER picky. Then, finally at last, I found it, the one LP with not just one, but two incredible tracks. Both a bad ass jazz funk instrumental and a deep funk club tune were on there. I couldn't believe it. Finally I had found the one and only grail of Oliver Sain. Again, not to discredit his other offerings, I have them all and don't want to part with them, so that says a lot. But, like I mention...this one LP had the 'real' head nodders and the dance floor packer as well.
So, As it turns out, I discovered these LP's in the opposite order that they were released. This LP 'Main Man' was the first to be issued in 1972.  Then 'Bus Stop' in '74 and 'Blue Max' in '75.
 
'On The Hill' is such heavy mood piece. It slithers around like a anaconda seeking prey. Just raunchy funk. This is great soundtrack material, could have easily complimented any exploitation flick. Hip hop producers seem to agree with me, as this track has been sample a few times. A big broad bodacious mood with funk texture for miles.
The other track from this LP is the classic funk DJ spin 'St. Louis Breakdown' in which he mentions San Francisco! Both 'On The Hill' and 'St. Louis Breakdown' saw release on 45 as well as on this album.
Oliver was vital to St. Louis music history and continued to work and perform there until his battle with bone and bladder cancer was lost in 2003. He started out as a drummer and played with Little Milton, Sonny Boy Williamson and Howlin' Wolf in the wee wee early days. He later got into producing and recording and ignited the careers of Fontella Bass and Bobby McClure. Then he took to the Saxophone, recorded these LP's and never put the sax down. He also has an interesting LP from 1981 on Houston Connection Recording Corporation label which has some funky moments and some tasty sounds thanks to the ARP Synthesizer.
All in all, Oliver's contributions were high in quantity and his efforts well received. I started out probably with his most watered down and eventually got right on down to the real heavy weight nuggets with his best. Now, I appreciate his work as a whole, and as a whole lot of great sound.
Check out this cool little local St. Louis TV bit on him...
KETC - Living in St. Louis with Oliver Sain
It's cool how he mentions being into the music for the satisfaction and reward of helping another artist towards success, especially because he probably made very little money.  Either way...Oliver Sain we appreciate YOU!! Rest in Peace! We'll honor you up on the hill!!

Oliver Sain - On The Hill