Steve Arrington of SLAVE

What age was you when you got started singing?

Wow, I was never a singer coming up. As a young boy, I for fun I’d mimic instrumental solos like, Jimi Hendrix guitar solos and John Coltrane solos. After high school, I toured with a lounge band for a while as the drummer, but did some singing on things like “Tie A Yellow Ribbon Round The Old Oak Tree” and “Bad Bad Leroy Brown”, but I was a drummer. When Slave hired me to play drums, which I played on all the records, they also asked me if could I sing. I began with some background vocals, then they asked me to do a lead vocal on “Coming Soon”. On the next album, we needed a lead vocal, on what was to become “Just A Touch Of Love”, so we were each taking turns and trying to come up with lyrics. I guess through mimicking instrumental solos and everything, I had developed a style, even though I didn’t realize it. So, when I started to sing, they thought, hey man, what you doing is different. The next thing I knew, I ended up being the lead vocalist and I knew had to start taking singing seriously. I never saw that coming. I guess, I’ve been singing all along from when I was a kid, but never had aspirations to be a singer.

Who are some of your mentors?

Well, as a young head coming up, I have to go with my brothers, Gary and Victor (8 and 7 years older), both loved diverse styles of music and were always bringing home new music. I remember Gary and I would play a game, where he would take 45’s, put them up under a sheet, pick one out without looking, put it on and we’d see who knew the most lyrics of the song that played. Victor had his own band and I played percussion in it. When I graduated from high school, I played and toured with a lounge band, lead by Clifford Murphy, who was a really good band leader and mentor.

Then, I went to California, where I met and started playing with Coke Escovedo, who really took me under his wing and taught me a lot. I lived with Coke and it was through Him, that I started to play with Pete and Sheila Escovedo, who went on to be Sheila E, as well as, Carlos Santana. As a 19-21 year old, Coke Escovedo was very important to my development.

Has anyone in the music industry given you particularly good advice? Yes, Coke Escovedo told me once, playing the notes is one thing, but you have to understand the language of the notes, the feeling behind the notes and the intention behind the notes, in whatever genre you’re playing.

Do you draw much inspiration from your personal experiences for your songwriting? There are certain particular incidents that have sparked some songwriting, but mostly, it’s more about a particular mood that I’m currently in or was in, in the past, that I tap into for songwriting. Plus, there is inspiration from things going in the culture, as well.

Did you feel a creative freedom, as an independent artist, while recording your music?

Yes. I’m influenced by so much music and so many styles of music. As an independent artist, I’m able to tap into more of all those styles for writing and arranging and bring more of what I am to the table.

Although, when doing records with Slave and Stevie Arrington’s Hall of Fame, I had a lot of room to do what I wanted, to tap into what I was learning, and figure out how to tap in to all my gifts and talents, based on where I was at the time and within the framework of the band. Being a solo artist on Atlantic with my albums, Dancing In The Key and Jammin National Anthem, I had more creative freedom, but you’re still within the constraints of a big system. In 2014, with ‘’Way Out 80-84”, I took the opportunity to look back at my career, at things in the vaults, at things that I liked, but at the time, there wasn’t enough room for on the record, at album cuts or things that just weren’t finished. Now, as an independent artist, I was able to use what I wanted and to finish things from the vaults that I liked and put them out.

In 1986, you received the NAACP Image Award. What type of award is that?

I was nominated for an award, but Luther actually won the category that year. I was a presenter at that year. The NAACP Image Awards honor outstanding performances in music, film, literature, TV, that they feel have a strong impact upon the culture. I was nominated particularly for “Dancing In The Key Of Life”, while I did not win, I was excited to be nominated alongside Luther, Al Jarreau, and Jeffrey Osborne.

Name some of the songs you sang and wrote?

I’ll just pick a couple from different stages of my career. I’ll say “Just A Touch Of Love” and “Watching You” from the Slave era. I’ll say “Nobody Can Be You But You” and “Weak At The Knees” from Steve Arrington’s Hall of Fame. From the solo Atlantic era, I’ll say “Dancing In The Key Of Life” and “Feel So Real”. Then there is “Holla” and “I’m On Fire” from Pure Thang, when I first reemerged. And in the underground era “I Be Trippin” and “I Be Goin Hard” and from my new record coming out I’m gonna say, “The Joys Of Love” and “Soulful”. But there are so many more in all the different stages of my career.

In addition to touring, have you teaming up with young producers for a new album on Stones Throw Record, and when will it be released?

For my new record with Stones Throw, I’m working with young producers, Mndsgn, Knxwledge, Shibo, Jerry Paper, Rejoicer, Benedek and J-Roc, which should be release around September.

I’ve also been doing collabs with George Clinton, Christian Rich and most recently, Thundercat and DJ Cassidy.

How does it feel to be a solo artist with your career moving forward?

I’m in heavy appreciation mode. I’m able to continue to grow and do what I love. I love the freedom of being a solo artist, as well as, love the gathering of creative people, whether that’s part of a band or doing a collab. Of course, being solo, there’s less accommodating other peoples‘ ideas, so I have more creative control over the perspective and the direction I want my music to go, but, I love it all.

In September 2010, Stones Throw Records how did that come about? After being off the music scene for nearly 25 years, I put up a vocal loop on my website, called “The Invade Has Arrived” and then put out Pure Thang in October 2009. A couple months later, Dam Funk contacted me through social media and then called me, saying he’d love to do a collab. So, I listened to his music and thought, OK that’s a cool idea. When we spoke again, Peanut Butter Wolf was on the phone, as well, and we planned for a 12 inch single, which turned into a three song EP, which turned into six track and then nine tracks. At that point, it was like, Hey man, do you wanna be a part of the Stones Throw family? I said “Yeah” and signed with Stones Throw.

When did you join the funk group, Slave? How long were you the lead singer?

I joined Slave on my 21st birthday and that was a wonderful time. My first lead vocal with Slave, was on The Concept album (1978), a song called “Coming Soon”, in a bridge section. But, it was the next album, the Just A Touch Of Love album (1979) where it really happened. So, I was the primary vocalist of Slave between 79 and 82.

What are some of the most memorable times being with such a legendary group?

Joining the group on my 21st birthday. Doing Soul Train, Don Kirshner’s Rock Concert and all the studio time making the records.

How was it being the lead singer to the legendary group, Slave?

A lot of hard work, that was a lot of fun. It was a tremendous learning experience, as it was, the first time I stepped out from behind the drums. The first time I was the front man. I never saw the whole lead vocal, front man thing coming.

Do you still stay in contact with some of the members?

Yes, we talk quite a bit.

Singing on the hit singles “Just a Touch of Love”, “Watching You” (which has been sampled by Snoop Dogg) and “Wait for Me”. How did you feel about that?

Well, I all about sampling. Younger people have the opportunity to discover your music, as they hear the songs and want to know where the sample came from, plus you get paid. It was cool to hear how Snoop Dogg used the Slave track, “Watching You” and how Ice Cube and NWA, JayZ, and Jermaine Dupri used “Weak At The Knees”. There‘s also, Brand Nubian’s using “Nobody Can Be You But You” and Tribe Called Quest used “Beddie Bye” on the Chase Part 2. I loved it! I’ve always been connected with hip-hop. As a matter fact, when Three Times Dope, did a remake of “Weak At The Knees”, they did it as a rap and I did a feature on it. So yeah, I love how hip-hop has used the music and like I said, it introduces my music to a younger generation.

In 1991, Mr. Arrington at the height of your career you joined the church, may I ask why?

Spirituality has always been a part of my life and I’ve been an artist, that did what was in my heart, which is why my music has gone through different phases. So, when, I felt it was time to make my spirituality the primary focus, I retired from secular music and fully engaged myself in my spiritual journey and the church. During that time, I pastored, but I was still playing drums, leading praise and worship at different churches and writing recording music...all of which, I enjoyed. Then, after nearly 25 years, I got this feeling that it was time to return to the secular music scene and spread the love. I have enjoyed all the nuances and turns my career has taken. I always follow my heart and for me that keeps things fresh and electric.

Leslie Arrington Personal Manager / Road Manager SteveArringtonMusic.com 937-206-1960

Leslie.SteveArringtonMusic@gmail.com facebook.com/SteveArringtonMusic youtube.com/SteveArringtonMusic twitter.com/Steve_Arrington Instagram: steve_arrington SKYPE name: leslie.stevearringtonmusic

Funk Band, SLAVE.