Biography
Born in Trenton, New Jersey, guitarist and bassist Raymond Earl served as a core participant in the Philly soul ensemble Instant Funk, which itself formed part of MFSB, the studio collective that functioned as the house band for Kenneth Gamble and Leon Huff’s Philadelphia International Records.
Following the example set by his older brothers, both guitarists, Earl took up the instrument early. Near age ten he launched an instrumental outfit called Royal 5. At a talent show he encountered drummer Scotty Miller, then the lone instrumentalist with the five-piece vocal group the Imperialistics. Earl joined that ensemble, and the two teenagers later created the Music Machine. With Scotty’s brother Kim added on guitar and pianists James and David Jones aboard, Earl moved to bass. He absorbed the fundamentals by slowing 45 rpm singles, especially those spotlighting Motown bassist James Jamerson.
In 1968 the musicians began supporting the local vocal group the TNJs, whose members included the Jones brothers’ sibling Elijah (“EJ”). The unit performed at neighborhood dances and venues, steadily building a local following. Philly soul artist, producer, and songwriter Bunny Sigler was introduced to the TNJs by manager Jackie Ellis. Sigler produced two singles for the group—one for the Newark imprint (“She’s Not Ready”) and one for Cameo/Parkway (“I Think I’m Falling in Love”).
Around 1971 Ellis renamed the backing unit Instant Funk, noting its ability to generate funky grooves instantly. The musicians worked the chitlin’ circuit, accompanying Sigler and assorted other R&B performers. In 1972 Sigler, then a staff producer at Philadelphia International, received permission to record his own vocal tracks and brought Instant Funk and the TNJs into the studio. The initial single was the ballad “Regina”; a subsequent remake of Bobby Lewis’ “Tossin’ and Turnin’” reached number 38 on the R&B charts. Sigler’s 1976 release used Instant Funk for every backing track. Although most Philadelphia International album cuts by Sigler feature MFSB, a substantial portion employ the Instant Funk rhythm section. The band also appears on hits by the O’Jays, Archie Bell and the Drells, Evelyn “Champagne” King, and Harold Melvin and the Blue Notes featuring Teddy Pendergrass. Constant studio work generated numerous unreleased recordings.
With Philly soul dominant throughout the 1970s, Sigler received numerous production assignments, increasing demand for his sidemen. Instant Funk and the TNJs contributed to Carl Carlton’s “Everlasting Love” and “She’s a Bad Mama Jama” as well as the full 1975 ABC Records album I Wanna Be With You. They are likewise audible on Sigler-produced material for Curtis Mayfield’s Curtom label, including Mystique featuring Ralph Johnson, Mayfield’s Heartbeat album (Curtom/RSO 1977), and a duet album with Barbara Mason (Locked in This Position, Curtom/Warner Bros. 1977), among other projects. During this period Instant Funk issued a single built around Muhammad Ali’s well-known phrase “Float Like a Butterfly.”
In 1976 Sigler secured an album deal for Instant Funk with Gamble and Huff’s TSOP label. The resulting Get Down on the Philly Jump yielded two disco-club favorites: the title track and “It Ain’t Reggae (But It Sho Is Funky).” Around the same time Sigler and the group recorded a soundtrack for the unreleased film Superdragon. In 1978 Sigler left Philadelphia International amicably, taking Instant Funk with him; they continued touring and cutting tracks at Sigma Sound and Alpha International. Shortly before, MFSB guitarist Norman Harris departed Philadelphia International to establish his own imprint, Goldmind, under a distribution arrangement with Salsoul Records. Seeking broader success as a recording artist, Sigler signed with Harris’ label and also obtained a Goldmind deal for Instant Funk, by then a ten-piece band that included horns and raw lead vocalist James Carmichael. The TNJs had disbanded by this point. Sigler expanded the lineup, yet before any material appeared Goldmind folded and its roster moved to Salsoul. Instant Funk’s first Salsoul single was “I Got My Mind Made Up (You Can Get It Girl).” A year after its original release the track was remixed by Garage club DJ Larry Levan and became the band’s million-selling breakthrough, reaching number one R&B and number 20 pop. Earl co-wrote the song with Kim and Scott Miller, with additional input from Sigler; his bass line supplies the central hook. The primary musical influence was the work of Donald Byrd’s protégés the Blackbyrds, specifically “Rock Creek Park.” Both the single and the album Instant Funk attained gold status. As they had at Philadelphia International, Sigler and Instant Funk collaborated with Salsoul acts including Loleatta Holloway, Double Exposure, and First Choice, plus artists on other labels. The band itself issued several Salsoul albums: Witch Doctor, The Funk Is On, Looks So Fine, V(5), and Kinky.
When Salsoul shifted focus in the early 1980s to its First Choice Home Video division and reduced activity, the musicians toured briefly before disbanding. Preferring to avoid the demands of the road, Earl turned to production, initially using the Miller brothers’ mother’s basement. Together with promoter Henry Page he launched Ray Ray Productions. Family acquaintance Terrence Reed (aka True Love) sought to record; the partnership proved fortuitous, given that Earl had backed the TNJs while Reed’s father belonged to that same group. The resulting demos secured a contract with Jerry Roebuck’s Harlem International Records and the release of Love Rap Ballad. The single received late-night airplay on Philadelphia, New Jersey, and New York stations. Roebuck placed the record with Critique Records; issued through Critique’s distribution arrangement with Atlantic Records, “Love Rap Ballad” entered Billboard’s R&B Top 30—an achievement reached without a music video and at a time when stations rarely programmed rap. The success prompted an album, Bustin’ Out, whose title track drew on Chuck Brown and the Soul Searchers’ go-go classic “Bustin’ Loose,” followed by a cross-country promotional tour of college and commercial radio outlets and retail stores. The project also found overseas audiences. Earl additionally produced, co-produced, or performed on releases by Karen Domino, E Powers, and Skipworth and Turner.
Through the reactivated Philadelphia International Records, Earl collaborated with Sigler on material for Patti LaBelle, Lou Rawls, Billy Paul, Phyllis Hyman, and Stephanie Mills. He serves as A&R director for Jerry Roebuck and Rocky Bucano’s New York-based company The Organization. Via Ray Ray Productions he records and produces across the full spectrum of musical styles.
Following the example set by his older brothers, both guitarists, Earl took up the instrument early. Near age ten he launched an instrumental outfit called Royal 5. At a talent show he encountered drummer Scotty Miller, then the lone instrumentalist with the five-piece vocal group the Imperialistics. Earl joined that ensemble, and the two teenagers later created the Music Machine. With Scotty’s brother Kim added on guitar and pianists James and David Jones aboard, Earl moved to bass. He absorbed the fundamentals by slowing 45 rpm singles, especially those spotlighting Motown bassist James Jamerson.
In 1968 the musicians began supporting the local vocal group the TNJs, whose members included the Jones brothers’ sibling Elijah (“EJ”). The unit performed at neighborhood dances and venues, steadily building a local following. Philly soul artist, producer, and songwriter Bunny Sigler was introduced to the TNJs by manager Jackie Ellis. Sigler produced two singles for the group—one for the Newark imprint (“She’s Not Ready”) and one for Cameo/Parkway (“I Think I’m Falling in Love”).
Around 1971 Ellis renamed the backing unit Instant Funk, noting its ability to generate funky grooves instantly. The musicians worked the chitlin’ circuit, accompanying Sigler and assorted other R&B performers. In 1972 Sigler, then a staff producer at Philadelphia International, received permission to record his own vocal tracks and brought Instant Funk and the TNJs into the studio. The initial single was the ballad “Regina”; a subsequent remake of Bobby Lewis’ “Tossin’ and Turnin’” reached number 38 on the R&B charts. Sigler’s 1976 release used Instant Funk for every backing track. Although most Philadelphia International album cuts by Sigler feature MFSB, a substantial portion employ the Instant Funk rhythm section. The band also appears on hits by the O’Jays, Archie Bell and the Drells, Evelyn “Champagne” King, and Harold Melvin and the Blue Notes featuring Teddy Pendergrass. Constant studio work generated numerous unreleased recordings.
With Philly soul dominant throughout the 1970s, Sigler received numerous production assignments, increasing demand for his sidemen. Instant Funk and the TNJs contributed to Carl Carlton’s “Everlasting Love” and “She’s a Bad Mama Jama” as well as the full 1975 ABC Records album I Wanna Be With You. They are likewise audible on Sigler-produced material for Curtis Mayfield’s Curtom label, including Mystique featuring Ralph Johnson, Mayfield’s Heartbeat album (Curtom/RSO 1977), and a duet album with Barbara Mason (Locked in This Position, Curtom/Warner Bros. 1977), among other projects. During this period Instant Funk issued a single built around Muhammad Ali’s well-known phrase “Float Like a Butterfly.”
In 1976 Sigler secured an album deal for Instant Funk with Gamble and Huff’s TSOP label. The resulting Get Down on the Philly Jump yielded two disco-club favorites: the title track and “It Ain’t Reggae (But It Sho Is Funky).” Around the same time Sigler and the group recorded a soundtrack for the unreleased film Superdragon. In 1978 Sigler left Philadelphia International amicably, taking Instant Funk with him; they continued touring and cutting tracks at Sigma Sound and Alpha International. Shortly before, MFSB guitarist Norman Harris departed Philadelphia International to establish his own imprint, Goldmind, under a distribution arrangement with Salsoul Records. Seeking broader success as a recording artist, Sigler signed with Harris’ label and also obtained a Goldmind deal for Instant Funk, by then a ten-piece band that included horns and raw lead vocalist James Carmichael. The TNJs had disbanded by this point. Sigler expanded the lineup, yet before any material appeared Goldmind folded and its roster moved to Salsoul. Instant Funk’s first Salsoul single was “I Got My Mind Made Up (You Can Get It Girl).” A year after its original release the track was remixed by Garage club DJ Larry Levan and became the band’s million-selling breakthrough, reaching number one R&B and number 20 pop. Earl co-wrote the song with Kim and Scott Miller, with additional input from Sigler; his bass line supplies the central hook. The primary musical influence was the work of Donald Byrd’s protégés the Blackbyrds, specifically “Rock Creek Park.” Both the single and the album Instant Funk attained gold status. As they had at Philadelphia International, Sigler and Instant Funk collaborated with Salsoul acts including Loleatta Holloway, Double Exposure, and First Choice, plus artists on other labels. The band itself issued several Salsoul albums: Witch Doctor, The Funk Is On, Looks So Fine, V(5), and Kinky.
When Salsoul shifted focus in the early 1980s to its First Choice Home Video division and reduced activity, the musicians toured briefly before disbanding. Preferring to avoid the demands of the road, Earl turned to production, initially using the Miller brothers’ mother’s basement. Together with promoter Henry Page he launched Ray Ray Productions. Family acquaintance Terrence Reed (aka True Love) sought to record; the partnership proved fortuitous, given that Earl had backed the TNJs while Reed’s father belonged to that same group. The resulting demos secured a contract with Jerry Roebuck’s Harlem International Records and the release of Love Rap Ballad. The single received late-night airplay on Philadelphia, New Jersey, and New York stations. Roebuck placed the record with Critique Records; issued through Critique’s distribution arrangement with Atlantic Records, “Love Rap Ballad” entered Billboard’s R&B Top 30—an achievement reached without a music video and at a time when stations rarely programmed rap. The success prompted an album, Bustin’ Out, whose title track drew on Chuck Brown and the Soul Searchers’ go-go classic “Bustin’ Loose,” followed by a cross-country promotional tour of college and commercial radio outlets and retail stores. The project also found overseas audiences. Earl additionally produced, co-produced, or performed on releases by Karen Domino, E Powers, and Skipworth and Turner.
Through the reactivated Philadelphia International Records, Earl collaborated with Sigler on material for Patti LaBelle, Lou Rawls, Billy Paul, Phyllis Hyman, and Stephanie Mills. He serves as A&R director for Jerry Roebuck and Rocky Bucano’s New York-based company The Organization. Via Ray Ray Productions he records and produces across the full spectrum of musical styles.