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Working Week (band)
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Working Week were a British jazz-dance band active in the 1980s and 1990s.[1]
Key Information
Working Week was formed in 1983 by guitarist Simon Booth and saxophonist Larry Stabbins from the band Weekend,[2] which ended when singer Alison Statton left to become a chiropractor. Initially a floating ensemble of nine players including trombonist Annie Whitehead, vocalist Julie Tippett, pianist Keith Tippett and percussionist Bosco D'Oliveira, Working Week released their debut single "Venceremos (We Will Win)" during the following year.[3] [2] The song was a tribute to Chilean protest singer Víctor Jara, with vocals by Robert Wyatt and Tracey Thorn (the latter from the band Everything but the Girl).[2] It became the band's highest placing in the UK Singles Chart, where it peaked at No. 64.[4]
Booth and Stabbins then recruited Juliet Roberts as permanent vocalist and started working on an album.[3] The debut album Working Nights was released on Virgin Records in April 1985.[2] Produced by Robin Millar and mixing many styles such as soul, jazz and latin music, the album was a success with 150 000 UK and overseas sales.[3]
Roberts continued as singer on the 1986 album Compañeros and Surrender, released in 1987, but left the band after that year's single, "Knocking on Your Door".[2] Julie Tippett returned as vocalist for the 1989 album Fire in the Mountain, and Eyvon Waite was solo vocalist for Black and Gold (1991), the band's final studio album.[5]
Working Week appeared on 9 February 1986 at the Royal Albert Hall in a benefit concert for victims of the 1985 Armero tragedy in Colombia.[6] The same year they contributed to the Absolute Beginners film soundtrack.[3]
Discography
[edit]Albums
[edit]- Working Nights (Virgin Records V2343) – 1985 UK No. 23
- Compañeros (Virgin Records V2397) – 1986 UK No. 72
- Surrender (Virgin Records V2468) – 1987
- Payday (Best of Working Week) (compilation), (Virgin Records Ltd./Venture VEGD19) – 1988, also in 1999
- Pay Check (compilation, US version of 'Payday') (Venture 2–90997) – 1988
- Fire in the Mountain (10 Records DIX86) – 1989
- Black and Gold (10 Records DIX95) – 1991[7]
Singles
[edit]- "Venceremos (We Will Win)" – 1984 UK No. 64
- "Storm of Light" – 1984 UK No. 88
- "Inner City Blues" – 1985 UK No. 93
- "Sweet Nothing" – 1985 UK No. 83
- "Stella Marina" – 1985
- "I Thought I'd Never See You Again" – 1985 UK No. 80
- "Too Much Time" – 1986 UK No. 94
- "South Africa" – 1986
- "Rodrigo Bay" – 1986
- "Don't Touch My Friend" – 1986
- "Surrender" – 1987
- "Largo" – 1987
- "Knocking On Your Door" – 1988
- "Eldorado" – 1989
- "Blade" – 1989
- "Testify" – 1990
- "Positive" – 1991 UK No. 96
- "Holding On" – 1991[7]
References
[edit]- ^ Ankeny, Jason. "Working Week". AllMusic. Retrieved 28 April 2016.
- ^ a b c d e Colin Larkin, ed. (1992). The Guinness Who's Who of Jazz (First ed.). Guinness Publishing. p. 439. ISBN 0-85112-580-8.
- ^ a b c d Reed, Tony (October 1986). "Working World: Working Week". International Musician & Recording World.
- ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 610. ISBN 1-904994-10-5.
- ^ "Working Week – Black & Gold (1991, Vinyl)". Discogs.com. Retrieved 3 August 2021.
- ^ Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books. p. 415. CN 5585.
- ^ a b "WORKING WEEK | full Official Chart History | Official Charts Company". Officialcharts.com. Retrieved 3 August 2021.
External links
[edit]- Working Week at Last.fm
- Working Week discography at Discogs
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Working Week (band)
View on Grokipediafrom Grokipedia
History
Formation and early releases (1983–1984)
Working Week was formed in 1983 by guitarist Simon Booth and saxophonist Larry Stabbins in the aftermath of their prior band Weekend's dissolution, which occurred after vocalist Alison Statton's departure to pursue chiropractic studies.[4] Booth and Stabbins, seeking to explore a more jazz-oriented direction, began assembling a collective of musicians focused on blending jazz improvisation with dance rhythms, drawing from London's emerging jazz-dance scene.[5] This initial configuration emphasized live instrumentation and rotating personnel, with Booth and Stabbins as the core drivers.[4] The group secured a deal with Virgin Records, leading to the release of their debut single "Venceremos (We Will Win)" on September 20, 1984, in the UK.[6] Clocking in at around 7 minutes in its extended version, the track paid explicit tribute to Chilean folk singer Víctor Jara, who was tortured and killed during the 1973 Pinochet coup, symbolizing broader solidarity with anti-dictatorship movements in Chile.[5] Featuring guest vocals and percussion layered over Booth's guitar riffs and Stabbins's saxophone, it marked the band's entry into the jazz-pop landscape, with initial pressings on 7-inch and 12-inch vinyl formats.[7] Early performances in 1984 took place at London venues tied to the jazz-dance circuit, such as those promoted by DJs like Gilles Peterson, helping build underground momentum amid rising interest in sophisticated pop-jazz hybrids.[8] These outings showcased the band's expansive setup, incorporating bassists and percussionists to underscore their fusion approach, though commercial traction remained limited until subsequent releases.[4]Commercial activity and lineup changes (1985–1986)
In 1985, Working Week released their debut album Working Nights on Virgin Records, which peaked at number 23 on the UK Albums Chart.[9] The album, produced by Robin Millar, featured soulful vocals by Juliet Roberts, who had recently joined as a permanent member alongside core instrumentalists Simon Booth on guitar and Larry Stabbins on saxophone and flute.[10] Percussion contributions from João Bosco de Oliveira on several tracks enhanced the band's fusion of jazz, soul, and Latin elements, supporting a dance-oriented expansion of their sound.[11] A live recording from May 29, 1985, in Bremen, Germany, captured the nine-piece ensemble's evolving performance style during this period, with Roberts fronting the group on material that blended improvisational jazz with rhythmic grooves.[12] The band's roster remained fluid, incorporating session percussionists like de Oliveira and Martin Ditcham to accommodate live and studio demands for broader rhythmic textures.[13] The follow-up album Compañeros, issued in 1986 on Virgin Records, incorporated stronger Latin jazz and Brazilian influences, evident in tracks supported by de Oliveira's percussion work.[14] Roberts continued as lead vocalist, though the ensemble's rotating guest contributors reflected ongoing lineup flux amid efforts to maintain their eclectic style.[15] Singles like "Too Much Time" from the album aimed at broader appeal but achieved limited commercial traction beyond the debut's modest success.[16]Final years and disbandment (1987–1991)
In 1987, Working Week released their third studio album Surrender, recorded in New York under producer Carl Beatty with an eye toward the U.S. market.[17] The record marked a shift toward mainstream R&B elements but commercially underperformed, prompting Virgin Records to drop the band.[17] Guitarist Simon Booth attributed the failure to the production's failure to retain the group's distinctive English character, stating it "lost the essential Englishness."[17] Vocalist Juliet Roberts, a fixture since the band's 1985 debut, departed after the album's lead single "Knocking on Your Door."[4] This exit compounded lineup flux, leaving core duo Simon Booth and saxophonist Larry Stabbins to navigate reduced output amid a hiatus.[17] Booth turned to DJing and acid jazz production, while Stabbins engaged in session work, reflecting the era's waning demand for their jazz-funk hybrid as broader pop tastes shifted.[17] Activity resumed in 1989 with Fire in the Mountain on Virgin imprint 10 Records, self-produced and featuring returning vocalist Julie Tippett.[17] The album garnered critical praise for recapturing the band's rootsy fusion of Latin, funk, jazz, and soul but sold modestly at 35,000 to 40,000 copies.[17] The band's fifth and final album, Black and Gold (1991), adopted a leaner arrangement influenced by contemporaries like Soul II Soul, with Eyvon Waite handling lead vocals.[17] [18] Issued on 10 Records, it capped eight years of sporadic releases without achieving wider breakthrough, as Booth prioritized song-driven integrity over trend-chasing adaptations.[17] Operations effectively ceased thereafter, with Booth and Stabbins moving to solo production and session roles, eschewing formal reunions.[17]Band members
Core instrumentalists
Simon Booth served as the band's guitarist and primary songwriter from its formation in 1983 until its effective disbandment around 1991, having co-founded Working Week after the end of Weekend, where he had previously contributed guitar and compositional elements.[1][15] His role anchored the group's rhythmic and harmonic structure, drawing from post-punk and emerging jazz influences to shape their sound across albums like Working Nights (1985) and Comrade Duke (1986).[18][19] Larry Stabbins, the co-founder and saxophonist, provided the principal wind instrumentation from 1983 to 1991, infusing the ensemble with jazz improvisation rooted in his prior experience with groups like Centipede and Keith Tippett's Ark.[18][1] His saxophone work defined the band's fusion of funk grooves and modal jazz phrasing, evident in tracks such as "Venceremos" from 1985, and remained a consistent element amid rotating personnel.[8][2] This Booth-Stabbins partnership formed the fixed creative and sonic backbone, enabling collaborations with figures like Robert Wyatt on percussion for specific recordings while maintaining instrumental continuity through the band's output.[18][3]Vocalists and guests
Juliet Roberts served as the primary vocalist for Working Week from 1984 to 1988, contributing lead vocals to the band's debut album Working Nights released in 1985 and several early singles including "Storm of Light."[20] Her tenure aligned with the group's initial commercial phase, appearing on tracks that highlighted the band's jazz-funk fusion during live and studio sessions from 1985 onward.[17] Following Roberts' departure, Eyvon Waite provided vocals on later recordings amid lineup fluctuations, including contributions to albums and singles in the late 1980s.[2] Julie Tippetts also appeared as a guest vocalist on a single track during the band's 1980s BBC session.[4] Notable guest vocalists enhanced specific releases, such as the 1986 single "Venceremos (We Will Win)," which featured Robert Wyatt, Tracey Thorn, and Claudia Figueroa on vocals alongside the core ensemble.[21] These collaborations occurred during eclectic recording sessions for singles and B-sides, reflecting the band's practice of incorporating external contributors without establishing fixed roles.[22]Musical style and influences
Working Week's music fused jazz instrumentation with pop song structures, incorporating elements of soul, funk, and Latin rhythms to create a sophisticated, dance-oriented sound prominent in the mid-1980s British music scene.[23] The band's core lineup, featuring guitarist Simon Booth and saxophonist Larry Stabbins, emphasized live improvisation and horn sections alongside electronic production, aligning with the emerging sophisti-pop genre characterized by polished, jazz-inflected grooves.[15] This approach distinguished them from pure jazz acts, as they prioritized accessible melodies and rhythmic drive suitable for club play.[8] Influences on Working Week spanned soul, punk, and Brazilian music, reflecting the diverse backgrounds of members who drew from global rhythms and urban energy to innovate within jazz-pop frameworks.[24] Booth and Stabbins cited contemporary pop alongside traditional jazz inputs, enabling the group to reintroduce fresh elements like percussive Latin beats and soulful vocals into evolving jazz traditions.[19] Their style evolved across albums, maintaining a song-based foundation while experimenting with fusion elements, as seen in tracks blending acoustic horns with synthesized textures.[17]Discography
Studio albums
Working Week's debut studio album, Working Nights, was released in April 1985 by Virgin Records in the United Kingdom.[10] Featuring vocalist Juliet Roberts as a full-time member, the album peaked at number 23 on the UK Albums Chart.[25] The follow-up, Compañeros, appeared in 1986, also via Virgin Records. Surrender followed in 1987 on the same label.[26] Fire in the Mountain was issued in 1989.[27] The band's final studio album, Black & Gold, came out in 1991.[28]Live albums and compilations
The band's sole official live release, Livelove Series, Vol. 3 - May 1985, captures a performance from that month during their early promotional activities for the debut album Working Nights, highlighting the ensemble's raw, collaborative energy with rotating vocalists amid Virgin Records support slots in the UK and Europe.[29] Issued in 2015 by Acid Jazz Records as part of an archival series, it serves primarily as a historical document rather than a commercial live tour product, reflecting the group's limited documentation of onstage dynamics beyond scattered festival appearances. Compilations emerged posthumously to consolidate the band's Virgin-era output, with Payday (Best of Working Week) released in 1988 by Venture, compiling key tracks from the first three studio albums alongside select B-sides, underscoring the group's commercial underperformance despite critical nods for jazz-infused pop.[30] A U.S. variant, Pay Check, followed in 1989 with a truncated tracklist adapted for the market.[30] Black & Gold (1991), issued amid the band's dissolution, functions as a retrospective anthology drawing from core releases, emphasizing vocal collaborations and emphasizing the archival appeal of their brief catalog without new material.[28] These efforts, lacking input from core members like founder Peter Rainer, prioritize fan accessibility over artistic intent, aligning with the era's trend of repackaging sophisti-pop acts for enduring niche appeal.Singles and EPs
Working Week's debut single, "Venceremos (We Will Win)", released in May 1984 on Paladin Records through Virgin, peaked at number 64 on the UK Singles Chart, spending three weeks in the top 100.[31][7] Featuring vocals by Robert Wyatt and Tracey Thorn, the track incorporated elements of a protest chant associated with opposition to the Pinochet regime in Chile.[31] "Storm of Light", issued later in 1984 on Virgin with vocals by Julie Tippetts, reached number 88 on the UK Singles Chart over four weeks.[31] Subsequent singles included "Inner City Blues" (1985, peaking at 93), "Sweet Nothing" (1985, peaking at 83), "I Thought I'd Never See You Again" (1986, peaking at 80 over six weeks), "Too Much Time" (1986, peaking at 94), and "Positive" (1987, peaking at 96).[31] The Rodrigo Bay EP, released in 1986 on Virgin Records as part of the Absolute Beginners soundtrack promotion, comprised four tracks including a 12-inch dance mix and instrumental versions.[32] Testify appeared as a remix single in 1991, emphasizing dance-oriented revisions of earlier material.[33]| Title | Year | Label | UK Peak |
|---|---|---|---|
| Venceremos (We Will Win) | 1984 | Virgin | 64 |
| Storm of Light | 1984 | Virgin | 88 |
| Inner City Blues | 1985 | Virgin | 93 |
| Sweet Nothing | 1985 | Virgin | 83 |
| I Thought I'd Never See You Again | 1986 | Virgin | 80 |
| Too Much Time | 1986 | Virgin | 94 |
| Positive | 1987 | Virgin | 96 |