Cloud One Vinyl, CD & Tape 8 Artikel

A true cosmic gem of proto-whatever gets it's first official reissue ever! Straight out of the lofty times of NYC! Better don't sleep on this!

A true Holy Grail from the Cloud One catalog, “Don’t Let My Rainbow Pass Me By” is the third of a string of titles on Golden Flamingo produced by the P&P duo of Patrick Adams and Peter Brown and featuring vocals from “Guardian Angel” singer Margot Williams. Similar to previous Cloud One’s productions, this record had all the elements of a Patrick Adams classic, but with vocal arrangements that foreshadowed the work he would do with Inner Life and Jocelyn Brown at Salsoul. Perhaps not so much of a coincidence then that Margot Williams would provide backing vocals on Inner Life’s Second and final album. Even though it was originally released in 1981, “Don’t Let My Rainbow Pass Me By” is still championed by high-profile deejays today. Over the years, it’s been notably sampled in Basement Jaxx’s Romeo and covered by Todd Terje and Prins Thomas in “Reinbagan"" as a Dub-Disco cut. Available for the first time since it’s original release, our only piece of advise is to don’t let this classic pass you by.

Originally released in 1975, "Atmosphere Strut" became an instant underground hit, cementing what was to become the signature sound for Patrick Adams — or as many have refered to him since — “the master of the masterpiece.” This futuristic and ethereal disco cut released on Peter Brown’s P&P label quickly became championed by Club DJ’s throughout the Northeast after legendary radio personality Frankie Crocker broke the record on the New York Airwaves. Although Patrick Adams has had a string of hits in his career, "Atmosphere Strut" remains a cult Classic for Disco aficionados. A mixture of modern sounds via the minimoog to an urban vibe at the time when parties happenned in the streets of Harlem and parks in the Bronx. Add Sylvia Striplin’s melodic chorus and you have yourself the perfect Disco Song. This Extended Disco-Mix from 1979 (On Queen Constance) retains all the qualities that made "Atmosphere Strut" a classic, but optimizises it for the Club. More percussions and an uptempo beat to make you fly away from the streets and straight into the Disco.

Produced by the legendary Patrick Adams, the studio-bound disco unit Cloud One made its debut in 1976with the spectacular Atmosphere Strut and throughout the seventies, became the centerpiece for QueenConstance, Golden Flamingo, Heavenly Star, and Sound of New York, all labels ran by Peter Brown &Patricia Gilyard. At a time when most music was recorded with a full army of studio musicians, Cloud Onerecords were mostly played, arranged and mixed in their entirety by Patrick Adams himself!!! The abilityto "work on his own" allowed the music to feel more experimental than the work he did on major labels atthe time. Released in 1977 Disco Juice is probably P&P’s best-known cut and for good reason. All theelements are there; a catchy melody reinforced by Venus Dodson's vocals, a driving bass line, anaccentuated piano and of course the signature Patrick Adams Synth Strings unifying the whole compositionand creating a delirious and hypnotic effect. It's no surprise this Record has been a point of reference tomany house music producers, and sampled famously by artists like Norman Cook and Paul Johnson. Fromthe Streets of Harlem to the beaches of Ibiza, 38 years later this juice keeps aging like a fine wine.

DBH Music welcomes Queen Constance Records to the label Family! Another fantastic label runned by the Mastermind Peter Brown from New York City. We're honoured to present you in future some pearls of Disco & Funk on black gold! Starting with the essential and hard to find "Cloud One - Doin' It All Night/ Dust To Dust" from 1979, written and produced Peter Brown & Patrick Adams!

Cloud One was always a studio outlet for Patrick Adams to experiment. Even after the success of Atmosphere Strut, Adams continued to experiment with synthesizers (in particular the minimoog) to make this his signature sound or ‘voice’ as he called it. An indeed his usage of the synth was completely different from some of his contemporaries. With titles like Jump, Jump, Jump, Funky Track, Stomp Your Feet and Dance or Music Funk, it was clear the spirit of this music was in Harlem. It’s no surprise Adams felt at home in the many P&P subsidiaries. “P&P became this place where artists could be free, as opposed to an Atlantic Records or a Columbia Records, where everything is high spit and polished...We never told anybody on P&P what they could or couldn’t do, what they should or shouldn’t do. It was like, ‘Go for it, if you want to bang pots and pans together, that’s your sound.” And what a Funky Sound it was.