The man is Michael Martin and the album is “Worlds Midnight”, released in September 1982. Martin died in January 2020, but in tribute to this great pioneer, the fruits of his labour must be revealed. Martin is one of the most underrated figures in British Gospel music history.
The wider acceptance of black gospel Christian music in the UK can be traced back to key strategic decisions made by this genius, entrepreneur and visionary. Michael needed a vehicle to transport the power of the music he grew up with inside the walls of the church to the streets of a mainstream secular youth environment.
In the late 1970s, his portfolio included the management of a talented contemporary unique Gospel Funk band from London called Paradise. The backing of an equally ambitious British Christian record label, Pilgrim Records, further enhanced his dream. Under the guidance of the late great A & R executive John Paculabo, the company saw potential and invested heavily in state of the art studio and marketing resources.
However, within the Black Church environments of the era there sound was considered controversial and leaders warned youngsters resulting in the Gospel funk pioneers concerts being boycotted. The sound and melodies they produced, was the devils music.
Embraced by white church festival fans and the mainstream press, Martin’s struggle for artistic freedom of his band seemed solely confined to his own ethnic community. Music journalists picked up an Earth Wind & Fire influence, yet the lyrical ingredients were religious bordering on street-cred. A strange and interesting blend that started to find its niche in the burgeoning Brit-Funk revolution of the day evolving to this day into collectible rare grooves classic material. Songs such as ‘Worlds Midnight‘, ‘Success‘ and ‘Stop and Think‘ resonated across all youth of the 1980’s generation. Kids under the watchful eyes of the black church elders bought and shared the album in secret.
What further infuriated annoyed church leaders was the fact that the musically gifted band and songwriting personnel were being treated and revered by fellow church youngsters as icons. A phenomenon only experienced in the pop world.
After changes from the original line up of the late 1970s, the membership included the falsetto Paul Johnson who went on to be signed by CBS records. Junior Edwards (Bass, vocals), Doug Williams (Lead vocals, guitar), Phillip Edwards (Keyboards), Raymond Dennis (Keyboards), Bobby Clarke (drums), Devon Burke (Percussion, vocals), David Aiyeola (Guitars) and Karl Edwards (Percussion). Although Michael Martin was not involved in the group’s next album, he played a significant role in building their professionalism and rapidly growing appeal.
As the 1980’s progressed, Martin drifted out of the British Gospel
music scene altogether and by the 1990’s left for the European continent. He left behind great memories but ever the entrepreneur, he ensured that the master tapes for the great album remained with him. Preserved and intact, they now represent the crown jewels, if not the Holy Grail of British Black Gospel. A mystique surrounded their location for many years until Michael Martin allowed authorisation of a number of tracks on a 2010 Kingsway label entitled Best of Paradise. The official re-release of the album “Worlds Midnight” in its entirety would be a welcome prospect one day, for collectors and music lovers alike.
The “Worlds Midnight” album and Paradise line-up was the last under Mike Martin’s guidance, but the 10-track album recording represented what would be arguably their finest hour.
One day, perhaps when the time is right, the story of Paradise and the man behind the dream may be reproduced as a stage play, a book or a documentary. The making of the album represents the rights of passage for British Black Gospel music, the beginning, and the new order.
The late Michael Martin deserves credit for being the man who projects managed the production and birth of the greatest British Gospel album of all time.
