Willie West’s “Fairchild” is so damn funky, a song written by the Southern Gothicc Futurist wizard Allen Toussaint, which when combined with West’s impeccably crossroads-ish smooth vocal stylings, it was an immense force, albeit not one which reached the popular masses after Josie Records released it in 1970. In fact, the hauntingly funky beat of “Fairchild” was unfairly categorized as a threat to social stability, and used to pass draconian anti-funk laws throughout the South, from eastern Texas through northern Florida, and all the way up into Central Appalachia, as far north as Kentucky and West Virginia. The government was afraid of mystical funk. Most of this was repealed and came undone, culminating in another Toussaint song channeling of the Universal Mystics, “Southern Nights”, being re-recorded in a far less metaphysical manner, and popularizing a more vanilla funk behind Glen Campbell’s cover. Once they’d added 3 tablespoons of vanilla to the raw funk, it lost enough of its drunken universal magnetics that we could all have it again. But if you put the breakbeat of “Fairchild” on loop (as much of it as you wanna consider a breakbeat) during a new moon, and light colored candles to the four directions (purple to the south, orange to the north, green to the west, and a golden one to the east), that raw funk is opened up even more than a normal ear hears. This is a version of high fidelity involving deep metaphysics, which Toussaint was a clairvoyant for, though our consumer society makes you think “high fidelity” requires expensive stereo equipment. Willie West, too, was a clairvoyant for these deep metaphysics, which is how he recorded “The Devil Gives Me Everything (Except What I Need)” later in life.
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