Brick -

Brick was an American soul-funk band from Atlanta that released six albums between 1976 and 1982 on Bang Records. They scored Billboard Top 20 crossover hits with their 1976–77 R&B chart-toppers “Dazz” and “Dusic.”

Members: Jimmy Brown (vocals, saxophone, flute, horns), Ray Ransom (vocals, bass, keyboards, percussion), Donald Nevins (keyboards, vocals), Regi Hargis (vocals, guitar, bass), Eddie Irons (vocals, drums, keyboards), Ambric Bridgeforth Jr. (electric piano, synthesizer), Victor Alexander (drums)

Background

Brick formed in 1975 through the merger of two Atlanta-area bands, one soul-funk and one jazz-funk. Their original lineup was reedist Jimmy Brown, bassist Ray Ransom, keyboardist Donald Nevins, guitarist Regi Hargis, and drummer Eddie Irons.

That year, Brick issued their debut single, “Music Matic” (b/w “Good High”), on one-press Mainstreet Records. They laid the tracks at The Sound Pit (The Counts, Loleatta Holloway, Ripple, The Spirit of Atlanta) under the auspices of Brickhouse Prod. Hargis also played on the 1975 ABC Records release Loneliness & Temptation by soul singer Clarence Carter.

In 1976, Brick signed to the locally based, nationally distributed Bang Records (Street Corner Symphony, Muscle Shoals Horns). Their first single on the label was “Dazz,” a portmanteau of “disco” and “jazz,” coined to represent their musical synthesis. With its stomp/clap rhythm, percolating bass, watery organ riff, and soaring sax break, the song hit No. 3 on the Billboard Hot 100. Bang recycled “Music Matic” as the “Dazz” b-side. (Coincidentally, a then-forming Cleveland band named itself Kinsman Dazz — later Dazz Band — in reference to their combination of “dance music” and “jazz”.)

Good High

Brick released their debut album, Good High, in September 1976 on Bang Records.

The album showcases Brick’s synthesis of mid-’70s funk with jazz-derived instrumental interplay, exemplified in their self-coined “Dazz” style. It contains their signature hit of that name and includes two instrumentals among its nine tracks. Good High marked the recorded debut of the Atlanta five-piece with its classic lineup.

Bassist Ray Ransom wrote or co-wrote the majority of the material. Keyboardist Donald Nevins contributed two instrumental compositions, while saxophonist Jimmy “Lord” Brown authored the opener and the closing ballad. “Dazz,” co-written by Ransom with drummer Eddie Irons and guitarist Regi Hargis, became their breakout.

Side A opens with “Here We Come,” a scene-setting track followed by “Music Matic,” a group vocal feature with alternating sax and flute lines. “Dazz” defines their hybrid aesthetic in-name and form, carried by clipped guitar patterns and elongated horn runs. “Can’t Wait” begins with a minor-key intro that segues into brisk disco pacing. “Southern Sunset,” the first of two instrumentals, unfolds with subdued rhythm and layered harmonies.

Side B begins with the title track, a lighthearted number with clipped phrases and spoken interjections. “Brick City,” the album’s lengthiest track, navigates shifting jazz-funk themes. “Sister Twister” adds prominent trumpet and cinematic pacing, while “That’s What It’s All About” closes the set with a slow vocal wrap-up and reaffirming message.

A1. “Here We Come” (2:52) – Opening number written by Brown; sets the tone with ensemble vocals and prominent brass.
A2. “Music Matic” (3:00) – Single featuring unison vocals and alternating sax/flute fills by Brown.
A3. “Dazz” (5:37) – Signature track with icy organ and stomp beats.
A4. “Can’t Wait” (3:21) – Transitions from eerie intro to a fast-paced disco-funk section.
A5. “Southern Sunset” (4:03) – Instrumental with mellow pacing and layered textures suggestive of twilight atmosphere.

B1. “Good High” (3:11) – Uptempo title track with short vocal phrases and playful energy.
B2. “Brick City” (6:19) – Instrumental with extended instrumental passages and bass-driven variations.
B3. “Sister Twister” (3:33) – Features prominent trumpet lines and cinematic funk elements.
B4. “That’s What It’s All About” (4:16) – Album-ending ballad with slow tempo and affirmational lyric.

Sessions occurred at Trolley Tracks, Web IV Recording Studio, and The Sound Pit in Atlanta with Brick, Jim Healy, Robert E. Lee, and Johnny Duncan credited as producers.

The album spawned three singles. “Music Matic” charted modestly on the soul listings. “Dazz” reached No. 1 on Billboard’s R&B chart and No. 3 on the Hot 100. “That’s What It’s All About” also appeared as a single release. The album topped the Billboard R&B Albums chart and reached No. 19 on the Pop Albums chart.

Brick

Brick released their self-titled second album in August 1977 on Bang Records.

The album expands on the group’s funk–jazz fusion with sharper rhythmic interplay and a widened stylistic range. It contains their second major hit and features material that later served as source material for numerous hip-hop samples.

Bassist Ray Ransom contributed to every track and holds primary authorship on two. Guitarist Regi Hargis penned “Fun” solo, while Jimmy “Lord” Brown authored the closer and co-wrote four others. Keyboardist Donald Nevins contributed two co-writes, and drummer Eddie Irons assisted on five.

Side A balances assertive funk tracks with moodier material. “Ain’t Gonna’ Hurt Nobody” opens with layered falsetto vocals over brisk rhythm guitar and low-end accents. “Living from the Mind” and “Happy” follow with changes in pace and instrumental focus; the latter centers on Brown’s shifting brass voicings across the verses. “We Don’t Wanna’ Sit Down” closes the side with a call-and-response vocal and ensemble chant structure.

Side B opens with “Dusic,” the group’s second signature track, paced by clipped phrasing and firm rhythm guitar. “Hello” continues in similar fashion with conversational vocals and light harmonic movement. “Honey Chile” stretches into mid-tempo funk ballad territory. “Fun” leans into one-chord vamping with spare interjections and would later be heavily sampled. “Good Morning Sunshine” closes the album with a slow, positive refrain and gently spaced instrumentation.

A1. “Ain’t Gonna’ Hurt Nobody” (3:54) – Opens with falsetto vocals and rhythmic drive; became a Top 10 R&B single.
A2. “Living from the Mind” (3:36) – Later sampled by En Vogue; features slower tempo and soul-centric phrasing.
A3. “Happy” (4:23) – Built on alternating brass and reed figures by Brown over flexible tempo shifts.
A4. “We Don’t Wanna’ Sit Down (We Wanna’ Git Down)” (5:41) – Extended track with collective chants and shifting rhythms.

B1. “Dusic” (5:44) – Built on a dense mesh of clipped refrains, rising organ textures, and overlapping guitar and keyboard figures. The pacing alternates between steady strut and sharp rhythmic pivots, with tightly arranged horn accents darting in and out of the mix.
B2. “Hello” (3:35) – Mid-tempo cut with conversational phrasing and subdued instrumental backdrop.
B3. “Honey Chile” (4:53) – Funk ballad structure with steady backbeat and ensemble chorus.
B4. “Fun” (3:33) – Minimalist funk vamp later sampled by multiple hip-hop artists.
B5. “Good Morning Sunshine” (3:36) – Closes the album with slowed pacing and affirming lyric.

Sessions occurred at Web IV Studios in Atlanta with Brick and Phil Benton producing.

The album produced two singles. “Dusic” reached No. 2 on the Billboard R&B chart and No. 18 on the Hot 100. “Ain’t Gonna’ Hurt Nobody” followed, reaching No. 7 on the R&B chart. Brick topped the Billboard Soul Albums chart and peaked at No. 15 on the Pop Albums chart.

Stoneheart

Brick released their third album, Stoneheart, on April 23, 1979, on Bang Records.

The album applies Brick’s signature blend of funk, jazz, and balladry with a smoother, more polished studio aesthetic. It introduces subtle shifts toward orchestration and softer textures, particularly on ballads and instrumental cuts.

Bassist Ray Ransom co-wrote all nine tracks and remains the principal composer alongside guitarist Reggie Hargis, who also co-authored five. Vocalist–reedist Jimmy Brown contributed to four numbers, and keyboardist Donald Nevins co-wrote the instrumental “We’ll Love.” Drummer Eddie Irons and outside writer Eddie Shellman co-authored “To Me,” and David McPherson appears on “Life Is What You Make It.”

Side A opens with “Brick Intro,” a short instrumental segment that leads into the title track, which unfolds in a drawn-out funk structure with phased pacing. “By the Moonlight” slows the tempo with more restrained motion and layered harmony. “Magic Woman” follows in a mid-tempo funk framework, led by Irons. “Life Is What You Make It” concludes the side with clipped funk phrasing and brief duration.

Side B begins with “Raise Your Hands,” built on call-and-response vocals and a driving backbeat. “We’ll Love” downshifts into slow instrumental territory with soft jazz inflection. “Dancin’ Man” returns to rhythmic funk before the album closes with “To Me,” a slow vocal ballad delivered with layered keys and brass overlays.

A1. “Brick Intro” (1:49)
A2. “Stoneheart” (5:59)
A3. “By the Moonlight” (4:22)
A4. “Magic Woman” (5:26)
A5. “Life Is What You Make It” (2:56)

B1. “Raise Your Hands” (4:54)
B2. “We’ll Love” (3:42)
B3. “Dancin’ Man” (4:28)
B4. “To Me” (5:30)

Sessions occurred at Studio 55 in Hollywood with producer–engineer Bill Schnee. Mike Reese mastered the album at The Mastering Lab, Hollywood. Synthesizer programming was handled by Steven Pocaro.

Stoneheart did not yield charting singles and marked a transition to more subdued textures in Brick’s sound.

Waiting on You

Brick released their fourth album, Waiting on You, on June 5, 1980, on Bang Records.

The album centers on riff-based funk with brisk rhythmic pacing and tight ensemble interplay. Waiting also embraces down-tempo balladry.

Bassist Ray Ransom appears on all ten tracks and leads the writing across the album. Keyboardist Donald Nevins, drummer Eddie Irons, guitarist Regi Hargis, and horn player Jimmy Brown contribute to most compositions. “All the Way” is the only track written entirely by an outside contributor, P. Davis.

Funk tracks make up most of the set. “Push, Push,” “Get Started,” “Free,” “Sweet Lips,” and “Get Fired Up” follow an uptempo format with clipped phrases and compact forms. “Let Me Make You Happy” and “Don’t Ever Lose Your Love” contrast with slower pacing and reduced instrumentation. “Spread Love” closes the album with mid-tempo motion and group vocal delivery.

A1. “Push, Push” (3:46)
A2. “Get Started” (4:36)
A3. “All the Way” (4:14)
A4. “Don’t Ever Lose Your Love” (2:47)
A5. “Waiting On You” (3:52)

B1. “Free” (3:10)
B2. “Sweet Lips” (4:13)
B3. “Let Me Make You Happy” (4:19)
B4. “Get Fired Up” (4:32)
B5. “Spread Love” (3:56)

Sessions occurred at Web IV Studios in Atlanta with Brick and Phil Benton producing, except “All the Way,” produced by James Stroud. Engineers included Duane Scott, Ed Seay, and Richard Wells. Glenn Meadows mastered the album, and Skip Lane arranged the strings.

Summer Heat

Brick released their fifth album, Summer Heat, on August 14, 1981, on Bang Records.

The album shifts between high-pace funk and softened ballad forms, mixing clipped ensemble rhythms with atmospheric passages. It marked their final studio LP and featured contributions from producer Ray Parker Jr., whose arrangements helped frame the group’s core strengths.

Summer Heat contains ten originals co-written by Jimmy Brown, Ray Ransom, Eddie Irons, and Regi Hargis, with Ambric Bridgeforth contributing to three. Ray Parker Jr. co-wrote seven tracks.

The set opens with “Sweat (Til You Get Wet),” built on tight horn bursts, steady guitar pacing, and a sectional bridge. “Wide Open” follows with upbeat phrasing and ensemble coordination, while “Sea Side Vibes” and “Babe” contrast with down-tempo pacing and softened textures. “Summer Heat” closes the album with extended phrasing and fluid instrumental layering.

A1. “Sweat (Till You Get Wet)” (4:45)
A2. “I Want You To Know (That I’m In Love With You)” (3:58)
A3. “Wide Open” (4:44)
A4. “Sea Side Vibes” (3:31)

B1. “Right Back (Where I Started From)” (4:14)
B2. “Babe” (4:02)
B3. “The Happening” (0:57)
B4. “Summer Heat” (4:51)
B5. “Sure Feels Good” (3:53)

Sessions occurred at Ameraycan Studios in Los Angeles with Ray Parker Jr. producing, engineering, and mixing. Brick is credited as co-producer. Steve Hallquist served as assistant engineer. Gene Page arranged and conducted strings, and additional percussion was performed by Ollie Brown.

Summer Heat features artwork by Scott Thom, with design and art direction by Ria Lewerke-Shapiro.

The album produced the single “Sweat (Til You Get Wet),” which returned the group to the R&B Top Ten.

Summer Heat peaked at No. 89 on the Billboard 200 and No. 13 on the R&B Albums chart.

After 5

Brick released their sixth album, After 5, on September 17, 1982, on Bang Records.

The album features compositions primarily from Ambric Bridgeforth, Eddie Irons, Jimmy Brown, Ray Ransom, and Regi Hargis Hickman.

Bridgeforth contributed synthesizer textures alongside electric piano, shaping much of the album’s sonic character. Ransom anchored the low end with bass and added percussion and keyboards. Irons combined drums with percussion and keyboards, adding subtle touches like glockenspiel. Hargis handled lead and rhythm guitar, also playing bass on “Let It Roll.” Brown supplied horn arrangements and multiple reed and brass instruments, including flute and trumpet, layering the ensemble sound.

A1. “Stick By You” (3:28)
A2. “It’s A New Day” (4:10)
A3. “Let It Roll” (5:12)
A4. “Wild & Crazy” (5:02)

B1. “Peace Of Mind” (0:47)
B2. “When You Believe” (3:57)
B3. “Free Dancer” (6:44)
B4. “Anymore” (6:45)

Sessions occurred at Monarch Sound in Alpharetta, Georgia, with Brick and Phil Benton producing. The track “Anymore” was recorded separately at Studio B, while Synclavier programming was tracked at Moleman Labs in Roswell. Wally Traugott mastered the album at Capitol Records in Hollywood.

The album’s artwork design was handled by Deb Mahalanoris, with concept and art direction by Bill Barnes. Barnes & Company created the overall design, and photography came from Parish Kohanin Inc.

Discography: