"Rich Cason is R&B history! To say that he’s past, present and future is more than an understatement." When I wrote those first two lines in his original bio over a year ago, that was my first impression and that impression still stands. Rich remains immortal through his work and it was my greatest honor to be able to write his bio. I feel privileged to have had the opportunity to meet and work with him over the past year. He was a genuine, dedicated individual and musician.
“I can't remember not being interested in music,” Rich said, almost overwhelmed by the countless music production and songwriting achievements in a career that’s spanned 4 decades of R & B history.
“Google” Rich Cason and you’ll get links from Mr. T to Ray Charles, Casablanca Records to pop, blues, soul and R & B. You can’t find a producer, writer, musician who shows up more intricately involved in so many projects when you do the Google thing. If you think that his bio is a short read, think again, settle down, get comfortable and read.
Born Charles Richard
Cason, May 5, 1945, his first instrument was the guitar, but he was
drawn to the keyboard, when at age 11 his
parents bought a piano.
This self-taught musical R & B visionary, found his niche with
the
keyboards, learning songs by ear, like
Ray Charles’ “What
I Say”. Rich had no idea that his future would include being the
first synthesist contracted to work for Charles in the early 90’s. Here
begins an amazing history of a career producer, writer, and keyboard
player.
As a young teen in the early 60’s, Rich gigged with several do-wop bands, until he met guitarist Pete Cozy and joined his band as the piano player. In 1963, at only fifteen, this Phoenix, Arizona native’s professional career was launched when Pete’s band, Big Boy Pete and the Crusaders, won band of the year in a talent competition. The prize was a guest spot on the popular Emmy winning local Phoenix TV show, Wallace and Ladmo, a show which itself made news as being the longest running kids show in TV history from 1954-1989.
When Pete Cozy left the group to join Miles Davis in Chicago, Rich worked at perfecting his writing, arranging and performing skills and started his own band.
It was unfortunate when Arlester “Dyke” Christian, bassist and singer in the O'Jays back up band, the Blazers, and some if its personnel found themselves stranded in Phoenix. Fortune came from raising fare back for their trip home (Buffalo. New York) and merging with Rich’s band. The group was discovered while working the club circuit. The band merger, which became Dyke and the Blazers, was catapulted into the limelight, making history and trivia with their hit “Funky Broadway”.
The song, Dyke’s creation, sold over a million units, based on a dance move that he’d pioneered, and was the first groove to use the word “funky” on vinyl. When James Brown saw the group play a concert at the Apollo, in 1966, he acknowledged the phrase “Funky Broadway” in his hit Cold Sweat. The song held its longevity when several artists covered it; including Atlantic records star Wilson Pickett.
Dyke and the Blazers continued to tour with their catalyst hit. Rich stayed with the band for two years and followed his success by forming a new group called “The Odd Squad” which garnered a large loyal fan base in the South. Their popularity proved to be a challenge for James Brown when he toured the south, because The Odd Squad were not just music, but show; and that was a big draw.
In 1970, Cason moved to Los Angeles, to pursue his songwriting goals. While breaking into the Los Angeles music scene had it ups and downs, Cason made it easy. He landed a song on Jermaine Jackson’s debut solo album with “If You Don’t Love Me”. Following his big break with Jackson, Rich went on to write for Leon Haywood, The Temptations, The Fifth Dimension, The Dramatics, Al Wilson, Sam and Dave, The Soul Children, The Fiestas, Formula V, Garland Green, Jimmy Lewis and ZZ Hill. We won’t say here, “to name a few”, as there is so much more. We’re still at the beginning!
The 70s was dominated by disco, which permeated the music market and gave every artist a chance to cash in on the wave. Rich, seized the opportunity and wrote, Gotta Keep Dancin’ for Freda Payne’s album “Hot”, thus expanding his style base even more. His song, Lay Some Lovin’ On Me, was a single on Jeannie Reynolds’ album, (sister of Dramatics lead singer L.J. Reynolds) on the Casablanca label. Casablanca, offered Rich a deal for his group Formula IV if they would be the back-up band for their new up and coming artist, Donna Summer. Exhausted, from just coming off the road with Al Wilson (his hit single Show & Tell), Formula IV declined. “A decision, “ Rich said, I regret to this day.”
Toward the end of the 70s, as disco approached its demise, Rich, totally immersed in the LA music scene, continued to gain success as a songwriter and producer. Because he didn’t limit himself to one particular genre of the contemporary music scene, his versatility covered every element of the popular styles in the music market. In 1977 he worked at The Record Plant at a private jam session, playing keyboard with John Lennon, Mick Jaggar, Billy Preston and Mickey Dolenz from The Monkees.
Disco legitimately died by 1979, and the 80’s brought with it, musical exploration, an adventure into new styles, and a pioneering spirit through the energy of synthesizers. By this time Rich was prime in the electronic music game on the west coast, creating a union of blues, funk and r & b. On the new electronic music frontier, he integrated everything that he had learned in formal study at El Camino College, LA City College and Eubanks Conservatory. Rich also adds that he attended the school of hard knocks.
He was a successful scholar from each of his Alma Maters with several club hits on the west coast. He started a record label, Write On Records with his best friend, and blues legend Jimmy Lewis. The label released a huge hit in 1983 when Rich wrote and produced "Killer Groove" and “Street Freaks” for Leon Kittrell & Formula V. The product was barely pressed when MCA and Malaco Records commissioned these dance grooves. This was the decade of the 12-inch single and vinyl was everywhere.
Many of Rich’s club hits were produced as Rich Cason and the Galactic Orchestra, and released on Rappers Rap Records. The songs on the west coast label included Space Connection 2012, Radio Activity, When Doves Cry Rap, Magic Mike Theme and a track still playing on the airwaves, “Bad Times.” co-produced with Jimmy Jam and Terry Lewis.
The hook-up with MCA landed Rich the gig where he produced Mr.T’s rap record, “Be Somebody”, under Jheryl Busby, former president of Motown.
The connection with Malaco was the marriage made in heaven for Cason, when execs at the label realized that Rich was not just a track master, but a seasoned lyricist and songwriter. When he wrote “Still Crazy” for Johnnie Taylor, it was the paving stone to his future success with the company. He was commissioned to write and produce their acts on the southern circuit and was the proven spark that ignited their traditional soul roster to chart toppers. Among their artists: Latimore, Shirley Brown, Denise La Salle, Dorothy Moore and The Rose Brothers.
The Rose Brothers reached Billboard’s Top Ten with hits, “I Get Off On You” and “Easy Love”. They became the biggest selling R& B act on Malaco, touring with Anita Baker and working The Apollo. “I Get Off On You” sold 40, 000 units in one week with Rich at the helm.
While still a very strong presence into the 90’s with Malaco, Rich used his synth and worked for Ray Charles. Brother Ray, impressed with Cason’s songwriting talent, recorded “I Need A Good Woman Bad” on Quincy Jones’ label Qwest. Charles also teamed with Peggy Scott to record, Rich’s tune “Back To Love.”
Friend Jimmy Lewis, started his own southern soul label Miss Butch where Rich tracked primarily all of the tunes, including the national hit “Bill” by Peggy Scott Adams, that was featured on Oprah.
Rich’s spicy street flavor continued to enliven Malaco’s southern soul artists: King Floyd, Stan Mosely, Marvin Sease, Carl Sims, Bobby “Blue” Bland, Tonya and the great Johnnie Taylor.
When Rich wrote “Good Love” for singer Johnnie Taylor, Taylor wasn’t initially enthused with the tune. It was quite a departure from the work he’d done. Cason recalls of Malaco’s premier artist, “He actually said to me, ‘I don’t like that song, that’s for Prince.” Rich laughs at the memory, “He wasn’t giving me no love at first and he’s the premier artist.”
In his subliminal effort to persuade Johnnie and hook his interest, Cason added some Sam Cooke runs with it, knowing that Taylor was from the Sam Cooke era. It worked and “Good Love” was Malaco’s biggest selling single in their history. It reached #15 on Billboard’s R& B charts, hit gold and remained on Billboard’s blues charts for over 52 weeks at number one!
“Soul Heaven” earned Rich a Grammy nomination and became Johnnie Taylor’s farewell anthem after his death. To continue the Taylor legacy, Floyd, Johnnie’s son was added to the artist roster at Malaco. When Floyd Taylor sang in his father’s style, it was a chilling reincarnation of the late singer.
To keep his hip-hop chops on track, Rich produced a CD on his own label Original Groovesta. HBO heard a song from the CD, and “Baby Can You Lap Dance” landed on HBO’s TV magazine series, Real Sex.
In the 90’s, Rich produced, vocalist Mel Waiters, a huge southern soul artist, as well as Chuck Strong and Billy Ray Charles.
Cason’s strategy in the music game is his style, a unique hybrid of R & B, Southern Soul and hip-hop. That way,” Rich said, “ you get prime stations on the list as well as the secondary, and I’m really happy about that.”
Cason’s many accomplishments include Jackson Music Awards for International Song Writer of the Year, Producer of the Year, as well as being inducted into the Arizona Music Hall of Fame for his work with Dyke and the Blazers’ Funky Broadway.
Currently, Jazz sax player, James Tobin made the list of artists produced by Rich on Foot Stompin’ Records as well as local LA artist, Zuri on Rasiah Records.
Charles Richard Cason grew with each decade and each ground swell of music style, always looking forward, always developing and continuing to be the foundation in much of the contemporary soul/blues music of our times. Yes, Rich, we miss you and personally from me I thank you for the opportunity to share with the world who you are...
The greatest thing about musicians is their immortality through the visionary spirit of the work they leave for future generations to enjoy. Charles Richard Cason remains the past, present and future of contemporary music; now, he is a legend.
Teira Doom
