GLENN UNDERGROUND
“Tell me. The Sound Table has an upstairs,” mentioned friend number one to friend number two gathered at a burger joint for Sunday brunch.
“Why yes but the upstairs is used for dining purposes only.” Explained friend number two.
“Oh my,” friend number one gasped. “You all dance in that tiny space?!?”
“As We Rejoice/Clap Your Hands,” sang Zakes Bantwini and Xolani Sithole into the ears of the chosen few already writhed in mid-dance. The restaurant’s elongated dining tables and wooden dining stools served as wall holders as happy feet graced contortionists appearing to kiss and dry hump the floor. Chicago native/Atlanta resident Ramon Rawsoul of House In The Park fame warmed up the crowd with musical selections from ATL’s Miranda Nicole’s, “Kissing You” (Duce’s Wild Vox) and South Africa’s Culoe De Song’s, “The Bright Forest.”
The clock reads 12:30 AM when the night’s headliner, Chicago’s own Glenn Underground pulls the plug on Black Coffee’s global unified theme, “We Are One.” From the sound system roared thunderous, “vrooms” as if a motorcycle chain gang zoomed down I-90 to Chicago’s south side. After 60 seconds of the maddening intro the motorcycles came to a stop at South Side Disco. That is the cacophony gave way to a disco four-count with hissing snares that bounced off the speaker tops, elongated tables and wooden chairs. The GU moniker would offer not one but THREE consecutive tracks more of less the same. Was it 1979? Hell Naw. While some appreciated yesterday’s nostalgia, others shook their heads in abandonment, as some braved the classics panting for disco’s bastard child; house music.
With a slide of the CD player’s pitch control the beats picked up pace. Boisterous thumps fell from the speakers to jolt the heart. A steady climax rushed rubber soles to dance faster and jump higher. There it was again, the “vrooms,” leaving South Side Disco, taking off to some unknown underground warehouse while a cant reminiscent of Dr. MLK Jr. directed its destination. The spoken word’s volume was amplified so till it echoed with a distorted hiss. The making of the musical journey proved a bit off putting.
What followed next delivered music to the ears and brought what the people came to hear a proper instrumental house music track built on a steady four-count thump, equipped with swirling keys and melodic chords that justified a true house experience. Transitioning from a music track to a song with vocals proved a no brainer as a male vocalist proudly proclaimed, “I ‘am Superman” to warm cheers. The crowd’s enthusiasm was kicking in high-gear perhaps due to alcohol.
Over the course of songs, hearts pounded with joy as additional musical offerings of the house and disco kind played at the Sound Table’s alter. The crowd had swelled to gigantic proportions. The tiny restaurant could no longer contain the substantial bodies packed tight like an African slave ship. Shirts came off, hairdos fell flat and sweaty musk became le parfum du jour.
Sometime later from the recesses of a track played chirping guitars beeping vibrantly underneath warm orchestrated strings. The soft melody had that of an old Chicago soul. Yes, indeed it was the interpretation of Timmy Regisford’s and Adam Rios’ execution of Chicago’s soul maverick Peven Everett’s, “Burning Hot.” However, this accompaniment came equipped with a smooth saxophone providing opening credits. WOW! What an exclusive goodie. After two minutes of sax filled bliss Peven’s vocals sung, “Gotta Keep It Burning Hot.” Throughout the shoebox shaped restaurant hands flew up in praise as the people lost their minds all the while providing additional vocal support. The producer took the track even further by killing the bass to warp the highs that caused additional pandemonium.
The Midwesterner gave a shout out to the east coast with Blaze’s 1999 cut, “Wishing You Were Here” remixed by U.K.’s moniker Joey Negro. Then came the steady transitions to afro-house, then to 1980’s Chicago house and then to disco. The night capsized with Chicago’s vocal sensation the late Loleatta Holloway’s, “Dreamin.” The CVO (Chicago’s Very Own) was at his best in his element delivering a stunning overworked vocal take on the classic. “What’s Mine Is Mine/What’s Yours Is Yours/You See I Don’t Want Nothing That’s Yours.” Loleatta’s scat and Holy Ghost “whoohs” were pitched, looped and allowed to scream till the hairs on the neck stood acute and chills surged up the spine. Even if not a fan, every heart had to admit, “This was REAL music.”
There’s just something about that Chicago soul. That soul that can’t be faked, funked, or forgotten. That soul that can’t be caged, copied, or formulated. The kind of soul that reaches its arms back in time across deep musical waters. The soul that can be heard on African slave ships, heard on Mississippi’s slave plantations and heard in Chicago’s south side housing projects. That Chicago soul be it blues, jazz, disco, house or rap that makes happy feet two-step. That kind of soul slaps the approval of blackness in your face. That kind of soul makes you dance and shout in circles filled with the Holy Ghost. That soul will make you throw your arms in the air and cry, make your heart dance out of its chest cavity and make you jump on and dance on restaurant tables in public. Glenn Underground brought that type of soul to the Soul Table uh-hmm the Sound Table. That soul was crafted from the deep, transported through the trenches and delivered to the underground masses. Some may not understand the soul. If one allows their eyes to close, taking a deep breathe and plunging backwards into the sweet serene waters they will no doubt be baptized into the soul. Be it young, old, black, white, Jew, gentile this soul is for you.
All Photos by AJ Dance
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Tags: Atlanta GeorgiaX deep house music, Glenn Underground, house music, Kai Alce, Ramon Rawsoul