VIDEO: HeatWave’s “Young Motsami”


In this case, HeatWave should not be confused with legendary British soul band Heatwave of “Boogie Nights”, “The Groove Line”, and “Always And Forever” fame but rather someone from, Vancouver, BC via Atlanta. He is going to releasing album called The Masses Volume 3 and this one is here to keep you satisfied for the time being. It’s called “Young Motsami”. The album will be out in June.

BOOK’S JOOK: Heatwave’s “The Groove Line”

  • Book’s Jook is a column dedicated to placing a record within my dream jukebox, if I were to have one. The Seeburg jukebox shown below is similar to the one I have wanted since I was a kid. To read more on why I started this column, click here.

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    When “The Groove Line” was released by Heatwave on Epic Records, I was already a fan of “Boogie Nights” and a somewhat subtle fan of “Always And Forever”. I didn’t have the record but I heard the song a lot on the radio, and as I got older, I found the song to be of interest to me, but “Boogie Nights” seemed perfect to me. It was only a year between Heatwave’s debut album and the second, but there were enough songs on the first album to keep people getting down and having a food time. However, when Heatwave released “The Groove Line” during the spring of 1978, it moved me beyond what “Boogie Nights” could do.

    I loved the arrangement of “Boogie Nights” but there was something about “The Groove Line” that made me love it even more, call it the vocals, how some lyrics were indecipherable at the age of 7, or the band balancing the “ooh weee oooh” and “aaah, aaah” commands throughout. Whatever made it worked at that age, I liked it a lot but I found myself understanding it much more as I got older. I enjoyed the counter melody in the song’s last minute, where I could imagine the mood of the song moving from evening to early morning or an early morning feel to sunset, there was movement in the music and lyrics, or at least one direct movement and one subliminal movement involved. It became more interesting with age, more sensual and sexual at the same time while retaining its coolness.

    What also remained cool was the slight dorkiness of the band, whose photos were seen for the first time on the album cover for Central Heating. It may be go “oh, so this is Heatwave?”
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    Maybe it’s not so dorky now, but they had their own sweaters representing their band name on the front, it wasn’t cool as rock bands would do it but no one ever had their own sweaters in 1978. Or at least I never seen or noticed them, but this is how Heatwave represented themselves, it was cool in its own way.

    I also enjoyed the long version of the song that’s on the 12″ single, definitely nice to hear new arrangements and an additional synth melody played and it was perfect to dance to at a rollerskating rink but for me, perfection remains in the mix found on the original 45. Years later, I find “The Groove Line” to be more power than “Boogie Nights” and while it can be argued that one song cannot exist without the other, “The Groove Line” reminds me of what it meant to be curious about the future and what lied ahead. I was way too young to go to a disco but I wanted to dance and see what it was all about.

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