COULD IT BE is a musical adventure of a soulful bass line meeting a rock guitar. Our guide is a flute played in a happy springtime manner. We are escorted across a magnificent bridge of horns supported by a B3 Lesley organ to the main square. Then we walk to the corner of jazzy pop lane to a row of side streets which lead us down back alleys to a location where people get their freak on to funky rhythm and wah-wah guitars.
I always had a love for guitars. One day some two guys approached me and spoke about starting a rock group. I had the vision of Jimmy Hendrix in my head. COULD IT BE was born.

In 2004 I went to Spain to meet up with one of the guys to get the old tracks. January 2010 I finally had the time to unlock the mysteries to my beautiful treasure. I kept my vocals as a guide and the drums. The rest was dated. The soul was locked in the drums. The next move was to the bass line. Alvin Mills one of the great sons of Alabama. I call him the truth. The bass line had to be melodic, it had to groove and it had to have that invisible thread representing our constant change in time yet keep the balance between light and dark. After this task was complete the rest was easy. Tate Simms one of the sons of NYC played a funky rhythm guitar in the verse and refrain. I asked for a grunge guitar and a wah,wah guitar in the bridge. It is just too serious. The voice of Buki Domingos a daughter of Nigeria (my 1st lady) gave the track a warm grace, beauty and brightness I needed years ago. It is wonderful to hear the positive collaboration of men and woman.

This was the ground work with all support beams and the pluming. I needed to put up the walls of sound. Everybody knows the song ‘SMOKE ON THE WATER’ from Deep Purple. It was the 1st time I heard a rock band with an organ? I mean possibilities? The only time I heard organs were at church. This marked a new beginning. I spoke about ‘Hair’ the musical to inform you all about the musical director at that time. I thought it would only be fair to asked Noel Stevens a son of Nottingham to play Hammond B3 organ. He rocked it. The experiment in the time of the recording was with the horns. All of the groups or artist which ever turned me on like Chicago, Earth Wind and Fire, James Brown to name a few had major horn lines. How could I have horns without fucking up my song? I called Ismael Diallo one of the sons of France, the angel Gabriel of saxophon playing! Noel added a keyboard trumpet and trombone sound to complete the wall.

Every wish I had for the song was complete except for the question I had when we finished. How come it was not kicking my a**? The answer was because the song was not complete. After carefully listening to the tracks I heard what I was missing I went to Peter and explained my dilemma. I needed a melody with a counter melody, some percussive sounds, bells, hand claps and a piano. It was like magic on my way to the studio a melody to be played on jazz guitar came out of the air. I asked Peter to do it. He smiled, saying, “Yea man, I think you are on the way now.” Inspiration is great. Peter played a melody we had to decide what instrument should play it. Lothar van Staa one son of Germany played the melody on flute. It is like the sun and rain very essential. There was still one section in the song where I was not too thrilled until I spoke with Martin Weiss another son from Germany. The guitar solo had to be the ultimate power electricity waiting to be released. If I would give Martin a name it would be the executioner.

I wrote this song with excerpts of pure joy in mind. Life is an incredible journey and I found if you dare to live it you will be fulfilled. I can now say thank you to all of my music heroes. I now know the difficulty in trying to express the vibrations of sound. Learn to share. Simply give. This music is living and will never die.