sidney barnes Archive
There’s more to George Clinton than many fans realize. To most of the listening public, the Kannapolis, N.C.-born musician is the voice and face of Parliament-Funkadelic. A leading light of the music scene, Clinton brought a sensibility that – much like Frank Zappa, to whom he is often compared – combined humor with advanced musicality.
Continued from Part Three… Barnes went on the road with Deniece Williams, too, and sang the male part of the Williams-Johnny Mathis duet, “Too Much, Too Little, Too Late.” Initially, he did his part from backstage, but headliner Lou Rawls insisted he come out and sing at center stage with Williams. “Plus,” Rawls told him,
Continued from Part Two… Jackson got a deal that saw him relocating briefly to London, so he and Barnes parted ways. Around that time Barnes got a call from George Clinton, then with Golden World Records in Detroit. “I was missing working with him and he was missing working with me,” Barnes says. “We were
Continued from Part One… The group with Barnes and Feemster cut a demo recording “I spent $10 to make it,” Barnes says. He played it for one of the members of Little Anthony’s group, who loved it. They rehearsed with Anthony, and were heard by talent scout William Parker. Parker got the group an audition
Sidney Barnes’ early recordings and songwriting efforts are prized by aficionados of Northern soul. But that music represents only a fraction of his massive body of work. Barnes has had a career spanning more than five decades, and he’s worked extensively in a dizzying variety of genres: doo-wop, soul, rhythm and blues, blues, jazz, funk,
Note: I recently conducted a wide-ranging and lively interview with Sidney Barnes; the result of that is an in-depth feature running soon in Record Collector Magazine. In the meantime, this shorter feature will whet your appetite. — bk Born in a West Virginia mining town, Sidney Barnes eventually moved with his family to New York
Sidney Barnes falls into the category of criminally under-appreciated musical figures. His career figures significantly into the histories of doo-wop, soul, funk, rock, pop and psychedelia. He cut “Wait” b/w “I’m Satisfied” way back in 1961, and while that record didn’t make a splash, it set him on a path he follows to this day.