David Frank

During his early years in a Boston suburb, David Frank performed classical selections during recitals. Fifth grade brought him first place in a composition contest focused on classical piano. High school saw Frank performing with rock groups at dances while also claiming victories in talent shows and battle of the bands competitions. One such contest ended with his psychedelic rock band defeating a soul act. The soul band's vocalist afterward approached the winners to offer congratulations and indicate a wish to join their lineup. That interaction led the psychedelic rock band to blend greater quantities of R&B and soul into its performances, helping Frank grow comfortable with those styles. He later joined the cover band Cresent, delivering current hits from Rufus and Chaka Khan, the Ohio Players, the Commodores, and Stevie Wonder at assorted venues throughout the early and mid-1970s.

At the beginning of the 1980s, Frank relocated from Boston to New York with the goal of working as an R&B/soul/funk studio musician. Entry into that competitive session arena proved difficult. With no influential contacts and no steady assignments, he accepted a role as accompanist for a Frank Sinatra imitator. The keyboardist eventually secured gigs with various New York bands, which enabled him to purchase emerging MIDI equipment. An Oberheim OBXa keyboard synthesizer, sequencer, and drum machine formed the basis of a one-man electronic rhythm section he assembled through synchronized instruments. It bears noting that Oberheim later marketed a three-piece MIDI package consisting of synthesizer, sequencer, and drum machine under the name the System during the original group's peak period.

Roughly eighteen months afterward, Atlantic Records soul/funk band Kleer hired Frank as tour keyboardist, providing his first major opportunity. The group's road manager, Mic (Mike) Murphy, invited Frank to contribute to recording sessions with associates. Until then Frank had been unaware of Murphy's vocal abilities. Drawing on studio time acquired through prior barter arrangements, Frank began work on a track titled "It's Passion," originally slated to feature vocals by a pre-stardom Madonna who ultimately withdrew over creative differences. Recalling Murphy, Frank asked him to the loft to develop the song. Murphy revised the lyrics and melody, after which the pair completed recording in a single day and mixed the track overnight. The following morning an engineer acquaintance transferred the master to a 12" acetate and recommended delivery to Jerry Greenberg's Mirage Records, an Atlantic subsidiary. Murphy telephoned the next day to report that the duo had secured a recording contract; within two days he devised the name the System, and three weeks later "It's Passion" was receiving extensive radio airplay throughout New York.

The follow-up single, "You Are in My System" (November 1982), followed an identical trajectory of expansion into major markets nationwide. Around Christmas, singer Robert Palmer reached out to Frank regarding a cover version for his forthcoming album; after conferring with Murphy, the pair granted permission. A simultaneous single release by Palmer created a cover contest that the System ultimately won decisively. Early 1983 brought the album The System; by that stage Murphy and Frank were frequently recognized for autographs on New York streets. Additional album tracks such as "Sweat" and "I Can't Let Go" attracted dance-floor interest. The succeeding album, Experiment, featured the infectious "I Just Want to Make You Feel Good," the sweet ballad "Promises" b/w "X-periment," and the stunningly passionate "I Can't Take Losing You." The Pleasure Seekers appeared as the duo's 1986 release. Its title track, an adventurous fusion of their signature synth-funk approach with heavy-metal accents, served as the first single. Frank and Murphy performed the song on NBC's hit series Miami Vice. The album also contained the "...Groove" precursor "This Is for You," issued as the second single. 1987 proved especially successful for the System and yielded their largest hit. The third single, "I Don't Run From Danger," received a remix that later became a sought-after 12" collectible.

The title track from Don't Disturb This Groove reached number one R&B and number three pop. The composition later supplied the foundation for one of Tupac Shakur's final recordings. Muzak renditions of the song also exist. The subsequent single, "Nighttime Lover," reached the pop Top 20. Their innovative style generated strong demand for the System as producers, songwriters, and musicians. Credits include Chaka Khan's cover of Prince's "I Feel For You" and Mtume's "Juicy Fruit," both million-sellers; the latter track was sampled by Notorious B.I.G. for his gold-certified single Juicy. Further contributions encompass Phil Collins' "Sussudio," Angela Bofill's "Can't Slow Down," and Pauli Carmen's "Dial My Number." They supplied music for the soundtracks of two Eddie Murphy blockbusters, Beverly Hills Cop and Coming to America, the latter title track attaining Top Ten pop status. Despite numerous offers, the pair elected to avoid overextension and declined many projects. They subsequently established their own facility, Science Lab Music.

1989's Rhythm and Romance, containing "Midnight Special," "Soul to Soul," and "Have Mercy," marked the duo's final album. Frank has maintained an active schedule of concert performances while also supporting Annie Lennox on her Live in Central Park CD and video for Arista. Session work and production engagements have included producer Steve Kipner's collaborations on 98°'s single "The Hardest Thing," Christina Aguilera's "Genie in a Bottle," and material for Omar, Dionne Farris, female pop vocal trio Wild Orchid, Eternal, and Rebbie Jackson.