ESG
A South Bronx Story

Deborah, Renee, Marie, and Valerie Scroggins were four sisters from the Bronx with an unbridled passion for music, particularly for percussion and James Brown. Mrs. Scroggins, despite having very limited financial means, did everything she could to encourage them to form a band, buying, with great sacrifices, anything that was needed to "give rhythm" to their music. They began to hit the underground venues of New York, together with their childhood friend Tito Libran, who played the congas for the occasion. Tony Wilson, producer of Factory Records, was recording "To Each" with the English band A Certain Ratio in the same city when he noticed this group of wild black girls and wanted to sign them.

Under his guidance, they recorded their first single, "Moody," which remains one of the most forward-thinking tracks of the entire future house movement. As a confirmation of this, in the '90s, numerous DJs remixed it in light of the new trends, revealing it as the bearer of an incredibly modern framework. But even the original version, with its powerful and damnably percussive groove, complete with tribal congas, stood out as a true milestone in the clubs of that era. That 45 rpm also featured "You Are No Good," slower but no less powerful, enriched by Renee's blues-teen voice, and "UFO," another cult track with a railroad rhythm of drums over which loomed a heavy bass growl and electronic sirens.

Emigrate in England, ESG started playing with bands like the Clash, Gang Of Four, P.I.L., becoming a name on the lips of all fans of funk/dub/no-wave.
In 1983, they released their first LP, "Come Away With ESG," on 99 Records. Subsequently, due to the sudden bankruptcy of their label, they were forced into silence for 8 years. It was the independent Pow Wow that released their second 33 rpm in 1991, simply titled "ESG." But the public had changed and showed lukewarm interest. A pity, because this record contained genuine gems, perhaps even better than the early period.
The stammering and nocturnal "Chistelle," with electronic effects and epileptic drums, demonstrates a superior maturity compared to the past while confirming their trademark. The same can be said for the sticky "Erase You," where a moaning synth lends impressionistic touches to the usual gripping minimal-funk rhythm.
Even better is "Hold Me Right," a sensual ballad updated to the trip-hop era, with a nighttime piano setting the time, synthetic violins in the background, and Renee's voice, which as a great black singer transforms her intonation into a captivating soul.

All the mentioned tracks are included in this Soul Jazz collection, which comprises the first singles plus the best of the two subsequent LPs, retracing the career of a talented group from which many Hip Hop musicians have eagerly borrowed samples.
Given the quality of the recordings, but above all the music, its appeal is remarkable, especially for those wishing to complete the reconstruction of that extraordinary cauldron of the New York wave.