![]() In 2006 whilst living in London, Paul had the opportunity to collaborate on original material with Eric Robinson – the writer of Sylvester’s “Dance Disco Heat”. ![]() The mix was critically acclaimed all over Europe. ![]() In 2003 when Jonathan Hellyer, lead singer from Bronski Beat, decided to do a cover of “Do You Wanna Funk” he approached Paul to lend his midas touch. ![]() This version was picked up by numerous compilations around the world and was also used in the US version of the TV show Queer as Folk. In 2000 Paul covered “Take Me to Heaven” with Australian Powerhouse Diva, Shauna Jensen. Paul’s love of Sylvester has never diminished – from naming one of his beloved cats after the singer to being honored to meet the great man himself on his only trip to Australia in 1986. He purchased his first piece of vinyl at the tender age of 12 – Sylvester’s “Mighty Real”. A child of British immigrants growing up in the Greek neighborhood of Marrickville in Sydney, Australia he absorbed musical influences from Funk, High Energy, Disco and New Wave. Paul Goodyear is a true house music veteran with a DJ style that encapsulates an incredible range. Besides, De Souza doesn't need to use his vocal chords to sing he does plenty of 'singing' with his trombone, and his command of that instrument makes Sweet Lucy an LP that is excellent more often than not. The song is gorgeous, but De Souza doesn't do it justice because, quite honestly, he can't sing - calling his voice thin is being charitable. The LP's weakest track is a performance of the Brazilian ballad 'New Love (Canc達o do Nosso Amor),' which finds De Souza attempting to sing. When he stretches out on 'Bottom Heat,' 'Wild and Shy,' and other pieces that he composed himself, De Souza shows a great deal of potential as a soloist. Vocal-oriented funk jams like 'Wires' and the title song (both written by Duke) are catchy, but the fusion and pop-jazz instrumentals are where De Souza really shines. Produced by George Duke, 1977's Sweet Lucy is the first of three albums that De Souza recorded for Capitol in the late '70s. ![]() But regrettably, his recording career was short-lived. So why did he mysteriously fade into such obscurity in the 1980s? In an ideal world, De Souza would have built a huge catalogue. In the 1970s, it was obvious that the Brazilian trombonist had a lot going for him: a distinctive and appealing tone, major chops, versatility, and a lot of soul and warmth. Raul De Souza is one of the mysteries of the jazz world. ![]()
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