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Ten years into his role as poster boy for pop soul and peak-hour R\u0026amp;B, Syl Johnson did an unlikely about-face and cut the most inspiring and powerful song he'd ever touch. \"I didn't want to write no song about hating this people or hating that people,\" Johnson said. \"I really didn't have no vendetta against people. It's a sympathy song.\" Issued on 45 in September of 1969, \"Is It Because I'm Black\" struck an immediate chord within the black community, forcing the song up the charts by sheer volume of call-in requests. It would be Syl's biggest hit for Twinight, climbing as high as #11 on the Billboard R\u0026amp;B chart during it's 14-week stay, marking the defining moment of what had become more than just an occupation. Syl had his hands on a career. The days of shuckin' and jivin' through dance songs were over, replaced by a heavy and sometimes cynical undertone that would dominate Syl's output for the foreseeable future. As the world-at-large was changing, so was Syl's personal life. Fed up with 13 years of her husband's life-on-the-road, Hazel Thompson checked out of their bungalow at 6843 S. Aberdeen. The formerly rock-solid band was beginning to show cracks too, as the pressures of an offstage life took their toll. Willie Henderson was the first to duck out, grabbing his shot at producing Tyrone Davis for Brunswick. \"It kind of fell apart,\" Syl lamented. \"Zachary became an entrepreneur. George Moss couldn't travel. Harvey Burton was teaching school. And Cameron couldn't go on the road. His wife wouldn't let him.\" For the first time in 33 years, Syl Johnson found himself alone. He holed up at Twinight's woodshedding studio at 2131 S. Michigan (the former address of both King and USA Records) and spent the bulk of 1969 tinkering. That storefront space would host the rehearsal of several Johnson productions, before Syl made an 11-door journey north to Chess's Ter-Mar studios, where many of his Twinight records, and those of others, were ultimately set to tape. But first he had to find a new band. Seven blocks north of Ter-Mar, Brunswick's Jalynne Sound house band was feeling awfully underappreciated at the hands of A\u0026amp;R director Carl Davis. Davis had put the group together piecemeal after walking out of OKeh in 1965, installing Bernard Reed on bass, guitarist John Bishop, trumpeter Michael Davis, alto saxist Jerry Wilson, and drummer Hal \"Heavy\" Nesbitt. Jalynne Productions set up shop at Roosevelt and Wabash, housing Davis' publishing and managing concerns, the latter of which boasted a stable of Gene Chandler, Otis Leavill, the Opals, Major Lance, Billy Butler, and Walter Jackson. When Jackie Wilson showed up at Jalynne, looking for a hit to revive his faltering career, everything changed. Following Wilson's success with the Barbara Acklin\/Eugene Record penned \"Whispers\" for Brunswick in 1966, Davis leveraged his new job at the label to set up a Jalynne writing workshop and studio in the old Vee-Jay offices at 1449 S. Michigan. The group would be used on many Brunswick and Dakar recordings between 1967 and 1969. But they were most egregiously offended at being left off the credits on Young-Holt Unlimited's \"Soulful Strut\" (when, in fact, neither Eldee Young nor Isaac \"Red\" Holt had even played on the Top 5 Pop hit). Bassist Bernard Reed recalls Jalynne's acrimonious split with Brunswick: \"I was a little disillusioned with how things were going for me down there. So we left Brunswick, and we got downstairs, and Jerry Wilson, the horn player, he said, 'Well, hey, Syl Johnson is right up the street. We can go down there and talk to him. I know he's looking for a band.' And that's what we did. We walked down the street to Syl's place. He was right across the street from Chess Records then. We were on Record Row. Syl had a little rehearsal studio there set up. He wasn't doing any major recording, but he had a machine there where we could make little dubs of what we wrote. Syl let us come in in the mornings, and we'd stay there up until the late hours of the night, practicing and performing new songs and putting together our own act. We dropped the Jalynne Sounds when we left Brunswick, I came up with the name Pieces of Peace. It just came to me as sort of a play on words. It was during that whole era-peace, flower power, during the end of the '60s. It sounded good to me, and I mentioned it to the fellows, and they said, 'Well, that's who we are now! The Pieces of Peace!'\" Syl put the Pieces of Peace rhythm section to work immediately, employing Reed, Bishop, and Nesbitt on the no-frills \"Is It Because I'm Black.\" Before the single even hit the streets, much less the charts, the full band was marked present on the Dynamic Tints' Reed-composed \"Package of Love Pt. 1 \u0026amp; 2\" and had backed up Syl up on a handful of regional dates. With no one waiting at home and a band with nowhere else to go, Syl worked tirelessly rehearsing his next opus, an album of songs reflective of the changing times. With \"Is It Because I'm Black\" still bolding the pages of Billboard, the coming LP's title appeared to Syl plain as day-or, in this case, black as night. Issued in April 1970-a full 13 months before Marvin Gaye's What's Going On-Is It Because I'm Black can rightly be called the first black concept album, a distinction few give it credit for. But that factoid, whatever it's meaning then or now, failed to inspire music buyers: Johnson's record never got a whiff of the two million copies Gaye's did in it's first year of availability. Syl lays the blame squarely on the record's lack of marketability to a white audience: \"That was a college record. Black college kids. They're political. But these kind of records tend to hurt you a bit. You've got white people, and then you've got white liberals. But you've got white people who care nothing about you talking about being black. They say 'Why shouldn't I sing \"Is It Because I'm White\"?' They just don't care for it. Not that they hate it, but they're not going to pay five or six dollars to buy an album of it.\" The album's cover didn't exactly move units either. Photographer Jerry Griffith dragged Syl to a burned-out building on 43rd Street to shoot the back cover image, and he finger-painted the iconic title over a stock photo of an eroding brick wall. The title track, coupled with the politically charged \"I'm Talking About Freedom\" and ghetto conscious \"Concrete Reservation\" sealed the album's cool reception as the work of an \"angry black man.\" Which is unfortunate, as \"Together Forever,\" \"Come Together,\" and \"Black Balloons\" are positively uplifting, forming their own pot of gold at the end of a grayscale rainbow. 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A master of multiple instruments, he primarily constructs his lengthy, meditative soundscapes from an electronically altered zither, hammered dulcimer, kalimba, synthesizers, piano, and other instruments, as well as natural sounds and vocals. Since first gaining exposure in the early '80s after a chance meeting with ambient innovator, who produced the landmark release Ambient 3: Day of Radiance (1980), Laraaji has released countless cassettes and albums, ranging from the mantra-like synth pop of Vision Songs, Vol. 1 (1984) to the extended drones of 1987's Essence\/Universe. Additionally, he has collaborated with several electronic, experimental, rock, and dub musicians, including Japanese dub crew (The Way Out Is the Way In, 1995), ('s Sacrifice, 1998), and Philadelphia duo (FRKWYS Vol. 8, 2011). On solo efforts like 2017's Sun Gong and 2020's Sun Piano and Moon Piano, he focuses on playing a single instrument. He has continued to reissue and unearth older material with releases such as the 2023 box set Segue to Infinity, and to release collaborations like Baptismal (with). In addition to his musical career, he is well-known for his Laughter Meditation Workshops.Laraaji was born Edward Larry Gordon in Philadelphia in 1943. While growing up in New Jersey, he studied several instruments as well as vocals, and he attended Washington, D.C.'s Howard University on a music scholarship. He then moved to New York City with the intention of making a living as an actor and comedian. He began to study Eastern mysticism, which would change the course of his life. He found a zither at a local pawn shop and experimented with it, developing a unique sound through electronic enhancement and unconventional playing techniques. He released his first album, Celestial Vibration, under his own name in 1978 on a small label called SWN, and began busking on New York City sidewalks and in parks. Happened to come across one of his performances and dropped a card into his instrument case. This led to producing Gordon's first widely available release, Ambient 3: Day of Radiance, issued on in 1980. Gordon's first album under the name Laraaji, the LP featured hypnotic, gamelan-like rhythms played on hammered dulcimer, as well as calmer ambient pieces for zither.As a result of the album's success, Laraaji's compositions became in demand from meditation groups. He released numerous cassette tapes featuring extended, continuously flowing pieces, as well as occasional avant-garde synth pop devotional songs, as on 1984's Vision Songs, Vol. 1. He expanded his spiritual studies, practicing under the tutelage of Swami Satchidananda and Shri Brahmananda Sarasvati. He collaborated with Sound Healers Association founder, who released their Celestial Realms cassette on his label in 1986. Laraaji's next vinyl release was Essence\/Universe, produced by Robert Ashman and released on in 1987. Laraaji contributed two pieces to Music for Films, Vol. 3, released by 's in 1988. Another label associated with, began releasing Laraaji's music in the early '90s, starting with 1992's Flow Goes the Universe, which was co-produced by. Laraaji then participated in supergroup, along with, and Mayumi Tachibana. The quintet released Automatic on in 1994, followed by Excellent Spirits (without Tachibana) in 1996. During this time, Laraaji also collaborated with Japanese dub group on the 1995 album The Way Out Is the Way In, and released Islands, a split CD with recorded live at a music festival in 1989.Laraaji's solo album Cascade was released by in 1997. The following year, Laraaji played zither on Sacrifice, an album by 's ambient project, issued by. Laraaji collaborated with again for two more albums, Celestial Reiki (2000) and Celestial Reiki II (2002), both on. He recorded the 2001 album My Orangeness on a farm in Italy, with several local musicians. Laraaji collaborated with Phil Gruber on The Song of Indra, and with Nadi Burton on Sonic Sketches, both in 2006. Otherwise, most of his albums during this decade were self-released solo CD-Rs. (a sublabel of) reissued his debut release Celestial Vibration on CD and LP in 2010.In 2011, Laraaji's music reached a new audience when he worked with Philadelphia-based experimental rock duo, resulting in the eighth volume of 's FRKWYS collaborative series. The acclaimed album led to a resurgence of interest in Laraaji's back catalog, and several of his recordings were re-released. In 2013, packaged Flow Goes the Universe and The Way Out Is the Way In as the double-CD Two Sides of Laraaji, in addition to issuing Celestial Music 1978-2011, a generous anthology of excerpts from his self-released tapes as well as highlights from his more widely known albums and collaborations. A 12\" EP of remixes by artists such as and appeared on in 2014. In 2015, issued three of Laraaji's early cassettes as All in One Peace, and German label reissued Ambient 3: Day of Radiance.In 2016, a collaborative double live album by Laraaji and titled Professional Sunflow was issued by, an imprint of reissue label. Later in the year, issued Laraaji's 1984 cassette Om Namah Shivaya on orange vinyl, in addition to releasing Be Still and Glow, another triple-cassette package. Two Laraaji releases, Sun Gong and Bring on the Sun, appeared in September 2017. In early 2018, Vision Songs, Vol. 1 was given a wide release for the first time, courtesy of. Arrive Without Leaving, a collaboration with and, appeared on near the end of the year. Celestial Realms was reissued on vinyl by in early 2019, and the triple-LP The Onrush of Eternity, a dub collaboration with (aka), appeared on around the same time. Laraaji then collaborated with and on an album titled Dreams of Sleep and Wakes of Sound. He returned to his first instrument with the 2020 solo albums Sun Piano and Moon Piano, both released with additional material as part of the cassette box The Piano Trilogy.\"Infinite Sun, \" a collaboration with and Superposition, appeared in 2021. Laraaji and also worked with 's NOUS ensemble, resulting in the full-length Circle of Celebration. The limited cassette All Things Beautiful was released in early 2022, in conjunction with Laraaji's merchandise collaboration with Online Ceramics. He also released an additional EP with titled A Surplus of Absurdity, as well as Meditation: You Are Relaxed, a release with sound wellness company utilizing AI-generated soundscapes. Segue to Infinity, a vinyl box set containing Celestial Vibration and six additional side-long recordings from the same time period, all taken from previously unheard acetates, was released by in early 2023. 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