Kashif – Ooh Love 1984
From Kashif’s second Album “Send Me Your Love” 1984 For a full story on Kashif’s past present and future watch my comments at the video for Stone Love by Kashif watch?v=ZBSxtLCMKKw ______ Singer/songwriter/keyboardist/producer Kashif wrote and played on Evelyn King’s (aka Evelyn “Champagne” King) number one R&B hits “I’m in Love” and “Love Come Down,” Whitney Houston’s first hit “You Give Good Love” and one of its follow-ups, “Thinking About You” from her 17-million-selling debut album Whitney Houston. He also contributed to her 17-million selling Whitney LP. His own recording career yielded 17 R&B hit singles and four Top 40 albums. He recorded several duets: “Love Changes” with Mel’isa Morgan, “Love the One I’m With” with Melba Moore, and “Reservations for Two” with Dionne Warwick. Part of the vanguard that includes early pioneers Stevie Wonder and Ronnie McNeir and his ’80s contemporaries the System, Kashif helped to revolutionized R&B music through the infusion of the then-emerging affordable, MIDI/synth technology of the ’80s. Music synthesizers at one point could easily fill a room. With the advent of the microchip, synths became more portable and had tonal stability and pricing (though most professional-level synths cost a couple thousand dollars or more) during the ’80s. Like McNeir, Kashif shares the distinction of having two self-titled albums in his catalog. Born Michael Jones in Brooklyn, NY, in 1959, Kashif was orphaned at an early age, growing up in eight …
The history behind this album is somewhat fishy. It would seem that music business entrepreneur Monty Babson had decided to expand his interests beyond his existing Morgan Studios (sometime home to the Rolling Stones amongst lesser sixties stars) and its damp squib of a record label, and into the area of serious, “progressive” artists on a new outlet called “Morgan Blue Town”. Sensing that the musical talent probably lay right under his nose with the numerous session boys who beavered away in the studio at all hours, he asked three of them, Wil Malone, Andy Johns (younger brother of Stones producer Glyn Johns, whose name was bizarrely changed to Jons for the sleeve credit) and engineer Mike Bobak to come up with something suitably forward-thinking for the album market. Babson’s deal was not the stuff many would be envious of – he asked them to work late at night during studio dead time, and made them sign an agreement which stated that they lost the rights to their work as soon as they created them. Mike Bobak has since gone on record as saying that he didn’t mind this arrangement as “it was never going to sell a million”, and perhaps the ad-hoc band also used the duff contract as an excuse to indulge artistic tendencies which might otherwise have been reigned in. The resulting “Motherlight” album is not without its flaws. “Wanna Make A Star, Sam” smacks of filler, even if it does lyrically predate Pink Floyd’s “Have A Cigar”, and “Burning The Weed” is a novelty track …
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