In late 1976, legendary groove master James Brown laid down his lethal brand of funk on his scorching dance hit “Body Heat.” It quickly became the go-to cut for club DJs when they wanted to get booties shakin’ on the dance floor ASAP. The smokin’ groove showed that the Godfather’s funk was as potent as ever, and after two decades in the game, he showed no signs of slowing down. Sweet Charles Sherrell anchors the dynamic track with a fearsome bassline, and Melvin Parker takes care of business behind the kit, delivering massive doses of funk. Jimmy Nolen contributes some cold guitar licks, and the tight horn section elevates the groove through the roof with blazing horn lines. The track also boasts a killer bridge, and James infuses his vocals with deep, raw soul and fiery funk. Also, the fire engine sounds are a cool touch and fit well with the track’s heat theme.
“Bodyheat” was released as a two-part single on Polydor Records in December 1976. The song’s authorship is credited to James’s then-wife, Deidre, and daughters Deanna and Yamma Brown. It was widely reported that he did this to avoid tax problems in the wake of his ongoing troubles with the IRS. He produced and arranged the song, which peaked at #13 on Billboard’s R&B singles chart and #88 on the Billboard Hot 100. It was his last song to appear on the Billboard Hot 100 until the release of his global smash “Living In America” in 1985. “Bodyheat” also enjoyed solid chart action in the UK, peaking at #36. It’s the title track of James’s 44th studio album, released on December 1, 1976. A live performance of “Bodyheat” appears on his 1980 live double album Hot on the One and also on Live in New York (1981). The studio version of the song appears on the comprehensive four-CD box set album Star Time (1991) and the compilation album 20 All-Time Greatest Hits! (1991). An alternate mix of the studio version is included as a bonus track on the 1988 compilation Motherlode and its 2003 reissue with remastered sound.
“Bodyheat” has been sampled on 23 songs and was featured on the soundtracks of the films Zombie High (1987) and Hudson Hawk (1991).
The full band lineup on “Bodyheat” was Sweet Charles Sherrell (bass), Jimmy Nolen (guitar), Hollie Farris (trumpet), Melvin Parker (drums), St. Clair Pinckney (tenor saxophone), Mike Lawler (keyboards), Joe Poff Jr. (alto saxophone), Johnny Griggs (percussion), Peyton Johnson (tenor saxophone) and Russel Grimes (trumpet).
James performing "Bodyheat" live in 1979
Here's a dope dance montage of James doing his thang set to "Bodyheat."
New Jersey-born R&B/funk band Instant Funk released this electrifying dance track in 1979. It boasts tremendous groove power and heaps of funk. The song is about a funky witch doctor who casts a potent spell that compels people to hit the dance floor and furiously work their backsides. The band delivers the funk with both barrels on this cut. Raymond Earl lays down a ruthless bass line, and the tight horn section fires up the funk with some powerful brass volleys. Music duo, the John Brothers, further elevates the groove quotient with their dynamic, soul-stirring vocals.
“Witch Doctor” was written and produced by acclaimed singer, songwriter, multi-instrumentalist, and producer Bunny Sigler. It’s the title track of Instant Funk’s third album, released in 1979 on Salsoul Records. The song had a solid performance on Billboard’s R&B singles chart, peaking at #35. This groove gem doesn’t get much play these days. It’s such a great track that it deserves much more love than it’s been receiving.
Here’s the full personnel for the Witch Doctor album: Raymond Earl (bass), Scotty Wilson (drums), Dennis Richardson (piano), Charles Williams (congas), Jimmy Sigler (organ), guitar (George Bell, Kim Miller), saxophone (Bob Malach, Louis Del Gatto, Robin Eubanks), trombone (Tom Malone, Willie Williams), trumpet (Larry Davis, Michael Ray, Randy Brecker), lead vocals (James Carmichael, the John Brothers), backing vocals (Bunny Sigler, Instant Funk, the John Brothers).
“Instant Funk” was formed in Trenton, New Jersey, in 1971. The band is best known for its funky dance smash “I Got My Mind Made Up (You Can Get It Girl),” released in late 1978. The song spent three non-consecutive weeks atop Billboard’s R&B singles chart. It also topped Billboard’s dance chart and reached #20 on the Billboard Hot 100. It's widely considered a disco-funk classic and is the band’s signature song.
Dennis Coffey, acclaimed guitarist for Motown’s legendary house band the Funk Brothers, dropped this thrilling funk-rock instrumental in 1972. It was the follow-up to his gold-certified smash “Scorpio,” released the previous year. “Taurus” is a rousing, high-adrenaline groove that features some fantastic guitar work from Coffey. He gets strong support from fellow Funk Brothers Bob Babbitt and Andrew Smith. Babbitt serves up some wicked funk on bass, and Smith keeps the groove cookin’ with his ferocious drumming. And James Barnes tears it up on the congas. The track boasts a killer arrangement that’s impeccably performed by all of the talented players.
“Taurus,” written by Coffey, was a single from his third album, Goin’ For Myself, released on Sussex Records in 1972. It peaked at #18 on the Billboard Hot 100 and #11 on Billboard’s R&B singles chart. The album, produced by Mike Theodore, had a respectable showing on Billboard’s R&B Album chart, reaching #37.
The United States Air Force Academy Band, the Falconaires, recorded a great cover of “Taurus” in 1972, and the Peruvian garage rock band Los Comandos also covered it that same year.
Here’s the full personnel for the Goin’ For Myself album: guitar (Dennis Coffey), bass (Bob Babbitt, Tony Newton), drums (Andrew Smith), percussion (James Barnes, Jack Ashford), keyboards (Eric Morgeson), horns, string (Alvin Score, Barbara Fickett, Beatrix Staples, Carl Raetz, David Ireland, Felix Resnick, Fred Boldt, Haim Shtrum, Jacl Boesen, LeRoy Fenstermacher, Mario DoFiore, Parker Groat, Richard Margitza, Bob Cowart, Virginia Halfman, Wally Gomulka), backing vocals (Emanuel Johnson, Joyce Vincent, Pam Vincent, Rothwell Wilson, Telma Hopkins, Tyrone Brown).
“Express” was the third single from Brooklyn groove outfit B.T. Express’s gold-certified debut album Do It (‘Til You’re Satisfied). Released in late 1974, the smokin’ instrumental was quickly embraced by funk lovers and clubgoers. The tight groove pulsates with energy, excitement, and funk. It features a magnificent horn arrangement, soaring strings, and a powerful bass line. And it showcases the flawless musicianship of the talented B.T. Express players. The track sonically takes the listener on a funky train ride, with the cool train whistle sounds enhancing the groove. And the smooth flute part is the finishing touch to this amazing track.
“Express” was written collectively by the B.T. Express members, and it was produced by Jeff Lane and Doc Productions. It topped both Billboard’s R&B singles chart and Billboard’s Dance Club Songs chart. It remained atop the Dance Club Songs chart for five consecutive weeks. The track peaked at #4 on the Billboard Hot 100. It reached #3 on the Canadian charts and rose to #34 in the UK and Germany. It sold a million copies in the U.S. and was certified Gold by the RIAA. And it sold 75,000 copies in Canada. Also, it earned the band a Grammy nomination for Best R&B Instrumental Performance at the 18th Annual Grammy Awards in 1975.
“Express” has been sampled on 17 songs and was featured on an episode of the critically acclaimed psychological crime thriller TV series Mindhunter (season 1, episode 10, 2017).
Here’s the full B.T. Express personnel on the Do It (Til You’re Satisfied) album: Richard Thompson (guitar, vocals), Carlos Ward (alto sax, flute, piccolo, woodwind), Terrell Wood (drums), Barbara Joyce Lomas (vocals), Dennis Rowe (percussion), Bill Risbrook (tenor saxophone, flute, vocals), Jamal Rasool (bass) and Kashif, born Michael Jones, (keyboads, vocals). Producer/songwriter/arranger/keyboardist Randy Muller was responsible for all of the album’s string arrangements.
B.T. Express performing "Express" on Don Kirshner's Rock Concert in 1975
Acclaimed R&B, soul, and funk singer-songwriter Carl Carlton died on Sunday, December 14, due to complications from a stroke he suffered six years ago. He was 73. His son, Carlton Hudgens II, confirmed the sad news on Facebook.
Carlton is best known for his funky post-disco anthem “She’s a Bad Mama Jama (She’s Built, She’s Stacked)” and his beloved 1974 cover of the soul classic “Everlasting Love.” “She’s a Bad Mama Jama” lit up the airwaves and filled countless dance floors back in the early 1980s and earned Carlton a Grammy nomination. His spirit-lifting rendition of “Everlasting Love” is a timeless standard that’s played everywhere, including oldies radio stations, weddings, graduations, and public events, and it has been widely featured in commercials, films, and television shows. Both songs showcase Carlton’s impressive vocal abilities. He was also a charismatic live performer who always brought warmth, fun, and excitement to his shows.
The artist was born Carlton Hudgens in Detroit, Michigan, on May 21, 1952. He began his music career at an early age, around 10 or 11, and went by the sobriquet “Little Carl” Carlton, a marketing tactic designed to capitalize on the vocal similarities between him and Stevie Wonder, who recorded under the name “Little Stevie Wonder” at the time. He later changed his stage name to Carl Carlton. In 1964, he released his first singles, “I Love True Love” and “I Think of How I Love Her” on Lando Records. He recorded some Detroit-area hits, including “So What” and “Don’t You Need a Boy Like Me,” on the label in 1965.
Carlton signed to pioneering black music mogul Don Robey’s Back Beat Records in 1968 and soon relocated to Houston, Texas, the label’s home. He released the single, “Competition Ain’t Nothin’,” on the label that same year. It was a minor hit on Billboard’s R&B singles chart, peaking at #36. But it was a massive hit in the UK Northern soul scene following its release on the UK’s soul label Action Records.
The year that Carlton graduated from high school, music trade publication Cash Box magazine named him one of the Best R&B Artists of 1970 in its December 26 issue. In 1971, he landed another minor hit on Billboard’s R&B singles chart with “I Can Feel It,” peaking at #47. Robey sold his Duke, Peacock, and Back Beat labels to ABC Records in 1973, transferring Carlton’s contract to the powerful New York-based label. Following that transaction, a compilation album of Carlton’s singles, You Can’t Stop a Man in Love, was released through ABC that year.
In 1974, Carlton scored his highest-charting hit with his incredible cover of Robert Knight’s “Everlasting Love.” It peaked at #6 on the Billboard Hot 100 and #11 on Billboard’s R&B Singles chart. It rose to #11 on the Canada Adult Contemporary Chart. And it spent 15 weeks on the Billboard Hot 100. The song was the title track of Carl Carlton’s 1974 album Everlasting Love.
Carlton became embroiled in a bitter royalty dispute with ABC Records in 1976, which prevented him from recording for 18 months until his contract had expired. He signed with Mercury Records in 1977 and released the sumptuous soul ballad “You, You” on the label that same year. L.J. Reynolds of the Dramatics produced and co-wrote the song. Its B-side was the wicked funk groove “Something’s Wrong,” also written and produced by Reynolds. However, the single failed to crack the charts. Following that release, Carlton’s tenure with Mercury proved fruitless, leaving him in career limbo for several years.
Things began to look up for Carlton in the early ‘80s when Los Angeles singer, songwriter, and producer Leon Haywood helped him secure a singles deal with 20th Century Records. Haywood began writing songs that he felt would be a good fit for Carlton’s voice and would also align with the popular music styles and trends of that period. The first single was a cover of Haywood’s own track “The Feeling’s Rated X-tra,” released in 1980. It had a modest showing on Billboard’s R&B singles chart, peaking at #57.
Carlton landed a bona fide smash with the Haywood-penned and produced “She’s a Bad Mama Jama (She’s Built, She’s Stacked),” released in August 1981. It peaked at #2 on Billboard’s R&B singles chart and #22 on the Billboard Hot 100. And it rose to #34 on the UK charts and peaked at #27 on the charts in New Zealand. The song was certified Gold by the RIAA with over a million copies sold. The track spent 21 weeks on the American charts and earned Carlton a Grammy nomination for Best R&B Vocal Performance, Male at the 24th Annual Grammy Awards. It has been sampled on 49 songs and featured on numerous film soundtracks and compilation albums. And it has more than 100 streams on Spotify. The song was included on Carlton’s 1981 self-titled album. The collection was certified Gold with more than 500,000 units sold. It was his first and only gold-certified album.
Carlton continued to enjoy a successful recording career in the subsequent years, landing more minor hits on the R&B charts up to the mid-1980s. After 1985, he went into an extended hiatus from the music scene. He returned in 1994 with the release of the album Main Event, a collaboration with singer Janet Jefferson. Unfortunately, the album failed to gain any traction on the charts and quickly disappeared.
In 2003, Carlton appeared on the “Rhythm, Soul and Love” edition of the PBS series American Soundtrack. Some of the other music luminaries who appeared on the special included Aretha Franklin, Lou Rawls, Dennis Edwards, Mary Wilson, Gloria Gaynor, Billy Paul, Edwin Starr, Freda Payne, and the Spinners. Carlton’s performance of “Everlasting Love” was included on the accompanying live album, released in 2004.
Carlton began venturing into gospel music in the 2010s. He released the gospel song “God is Good” on August 1, 2010. He followed that with the gospel-themed tracks “Saturday” and “One More Minute,” both released independently. In 2011, he was nominated for a Detroit Music Award in the “Outstanding Gospel/Christian Vocalist” category at the Fillmore Detroit theater.
While Carlton was no longer a force on the charts, he could still effortlessly command a stage. He was an exciting showman, captivating audiences with his great talent and powerful stage presence. The artist continued to tour throughout the 2000s and into the 2010s. He toured alongside other esteemed R&B veterans at festivals, music revues, and nostalgia circuits. Carlton toured regularly until he suffered a debilitating stroke in 2019 that affected his speech and mobility, sidelining him from performing live.
In 2009, Hip-O Select, a specialty reissue label under Universal Music Group, released the comprehensive compilation Everlasting: The Best of Carl Carlton. It features 22 tracks that span the entirety of the artist’s illustrious music career.
Carlton is continually praised for his considerable gifts as a singer and performer. He was inducted into the National Rhythm & Blues Hall of Fame in 2017. His music continues to touch music lovers of all ages, races, and nationalities, bringing joy to millions.
“She’s a Bad Mama Jama (She’s Built, She’s Stacked)”
Celebrated Oakland band Tower of Power stepped into the ‘90s still funkin’ hard as hell, dropping cold jams like “Funk The Dumb Stuff.” The funk level on this electrifying track is off the charts. Rocco Prestia drives the groove with an absolutely filthy bass line that’s bolstered by Russ McKinnon’s dynamic drumming. The track boasts a superb horn arrangement, masterfully performed by TOP’s supertight horn section, with Steve Grove delivering a killer sax solo. Emilio Castillo ably handles lead vocals, and Carmen Grillo further maximizes the funk with a nasty guitar lick.
The song is about someone who talks a big game and puts on a fake front to convince everyone that they have it all together, but in reality, it’s the opposite. Underneath the cocky façade and false bravado lies an insecure individual with a chip on their shoulder. The song’s narrator doesn’t have the time or the patience to entertain this type of foolishness; hence, the title “Funk The Dumb Stuff.”
The track was written by Emilio Castillo, Rocco Prestia, and Stephen “Doc” Kupka. It’s included on TOP’s 1991 album Monster on a Leash, released on Epic Records. Castillo produced the collection, which peaked at # 19 on Billboard's Contemporary Jazz Albums chart.
Here’s the full personnel for Monster on a Leash: Tom Bowes (lead vocals), Steve Grove (alto and tenor saxophone), Emilio Castillo (tenor saxophone, backing vocals, lead vocal on track 6), Francis Rocco Prestia Jr. (bass), Lee Thornburg (trumpet, flugelhorn, trombone, backing vocals), Carmen Grillo (guitar, backing vocals), Nick Milo (keyboards), Greg Adams (trumpet, flugelhorn, backing vocals), Russ McKinnon (drums, percussion), and Stephen “Doc” Kupka (bariton saxophone).
Tower of Power performing "Funk The Dumb Stuff" at a 1992 concert in Japan
The Pointer Sisters landed one of their biggest hits with the funky, synth-driven “Automatic,” released on January 13, 1984. It features Ruth Pointer on lead vocals, effectively showcasing her rich, deep contralto. The track is an exhilarating mix of new wave, funk, and soul. It boasts marvelous synth work, tight rhythm guitar riffs, and a powerful chorus. Anita and June Pointer's strong backing vocals keep the groove's energy at maximum.
The song is about all-consuming infatuation. The narrator is helplessly infatuated with someone to the point that she has no control and is unable to function whenever this person is around. She short-circuits and can only utter incoherent gibberish. The narrator is analogous to a controlled automaton whose only function is to cater to the whims and needs of her object of desire. The track’s dynamic electro groove fits this robot theme extremely well.
“Automatic” was co-written by Brock Walsh and Mark Goldenberg. It was the second single from the Pointer Sisters’ triple-platinum tenth studio album, Break Out, released in November 1983. The song peaked at #5 on the Billboard Hot 100. It reached #2 on both Billboard’s R&B singles chart and Billboard’s Dance Club Songs chart, and it rose to # 36 on the Billboard Adult Contemporary chart. The song also enjoyed major chart action internationally. It was the group’s biggest UK hit, spending two weeks at #2 on the UK singles chart. It also performed well on the charts in New Zealand (#8), the Netherlands (#6), Ireland (#1), Belgium (#5), Australia (#15), and Canada (#17).
“Automatic” was the Pointer Sisters’ first Top 40 hit on the Billboard Hot 100 to feature Ruth Pointer on lead vocals. The song earned the group a Grammy for “Best Vocal Arrangement for Two or More Voices” at the 1985 Grammy Awards. Additionally, it ranked at number 94 on Billboard’s list of “100 Greatest Girl Group Songs Of All Time.” In her 2016 memoir Still So Excited!: My Life as a Pointer Sister,Ruth Pointer discussed how “Automatic” was selected for the Break Out album:
"Automatic" was the final song chosen for Break Out: "We were taking a break from recording in the office of Jim Tract, who was [Break Out producer] Richard Perry’s right-hand man, and Jim mentioned that he had a stash of tapes we might want to listen to [while on] a breather...We all sat up straight when we first heard ['Automatic'] and told Richard we wanted to include it on the album. 'Okay,' he said, 'But who would sing the low part?' 'Are you kidding me?' I said, 'I'll do the low part!'”
“Automatic” has been sampled on 15 songs, per WhoSampled. It has been featured in the TV series High Fidelity ( season 1, episode 8, 2020), Beat Shazam (season 2, episode 8, 2018), Pose (season 1, episode 8, 2018), The Tonight Show Starring Jimmy Fallon (season 4, episode 16, 2016), and Scream Queens (season 1, episode 1, pilot, 2015). It has also been featured on the soundtracks of the films Going In Style (2017), Spud 2: The Madness Continues (2013), and Ricochet (1991); and soundtracks for the TV movies Looking (2016) and The Return of The Six-Million-Dollar Man and The Bionic Woman (1987). Additionally, “Automatic” was featured on the soundtrack of the 2002 action-adventure video game Grand Theft Auto: Vice City.
Here’s the full personnel for “Automatic”: Ruth Pointer (lead vocals), Anita and June Pointer (backing vocals), Eddie Watkins Jr. (bass), Brock Walsh (drum machine programming, synthesizers), Dennis Herring (guitar), Mark Goldenberg (bridge guitar), Paul Fox (Emu-Emulator), John Van Tongeren (Minimoog, synthesizers), Howie Rice (synthesizers) and Stephen Mitchell (synthesizers).
The Pointer Sisters performing "Automatic" live in Paris in 1985
In the 1970s, acclaimed drummer Lenny White was a member of the influential jazz fusion band Return to Forever, led by pianist and composer Chick Corea. White is widely considered one of the founding fathers of jazz fusion due to his pivotal role in Return to Forever and his contributions to jazz giant Miles Davis’ groundbreaking album Bitches Brew (1970). White has also worked with jazz fusion pioneers such as Herbie Hancock and Jaco Pastorius. The three-time Grammy winner is renowned for his innovative drumming style, characterized by powerful yet fluid and complex rhythms that have helped raise the bar for the genre.
Following his departure from Return to Forever in 1977, White began exploring other music styles beyond jazz fusion. In 1979, he formed the R&B/funk band Twennynine, much to the surprise (and for some disappointment) of many jazz enthusiasts. The band’s sound was much different from the complex jazz fusion workouts Return to Forever were known for. It was straightforward funk and R&B. Twennynine’s biggest hit was “Peanut Butter,” a loopy, energetic funk track featuring an irresistible synth bass line and a bumpin’ beat. The talented crew brings style and flavor to this fun, infectious groove, which boasts a cool arrangement, playful lyrics, and a funky piano solo.
“Peanut Butter” was written by jazz-funk pianist, singer, songwriter Don Blackman, who played the synth bass line and piano solo on the track. It was a single from Twennynine’s debut album, Best of Friends, released in October 1979 on Electra Records. The song peaked at #3 on Billboard’s R&B singles chart and rose to #83 on the Billboard Hot 100. The album was co-produced by Lenny White and Larry Dunn of Earth, Wind & Fire. It peaked at #15 on Billboard’s R&B album chart. “Peanut Butter” has been sampled on three songs.
The full lineup of players for Best of Friends was Don Blackman (clavinet, electric piano, organ, piano [acoustic], synthesizer, vocals), Barry “Sonjohn” Johnson (bass, vocals), Lenny White (drums, percussion, synthesizer [& Bat On Wall]), Eddie Martinez (guitar), Denzil Miller (keyboards), Nick Moroch (lead guitar, glockenspiel), Paulinho da Costa (percussion), backing vocals (Barry Johnson, Dee Dee Bridgewater, Donald Blackman, Googie Coppola and Lynn Davis), horns (Andrew Woolfolk, Robert Bryant, Don Myrick, Elmer Brown, Garnett Brown, George Bohanon, Louis Satterfield, Marilyn Robinson, Michael Davis and Sidney Muldrow).
Twennynine released two more albums, Twennynine with Lenny White (1980) and Just Like Dreamin’ (1981), before disbanding in 1983, after which Lenny White returned to jazz session work and producing. He produced Chaka Khan’s Grammy-nominated jazz albumEchoes of an Era (1982), and he and EWF’s Maurice White co-produced R&B/jazz fusion group Pieces of a Dream’s fourth studio album Joyride (1986). Lenny dropped his third solo album, Present Tense, in 1995. The album is a stellar collection of jazz-fusion and jazz-funk tracks. It was met enthusiastically by jazz-fusion lovers and music critics, who gave it high marks.
Presently, White is an adjunct faculty member at NYU Steinhardt, where he mentors and teaches students. He’s also a faculty member at The School of Jazz and Contemporary Music in New York.
After Donna Summer’s foray into new wave and rock on her 1980 album, The Wanderer, she returned to her R&B and dance-music roots with her self-titled 10th studio album, released on July 19, 1982. The Quincy Jones-produced collection offers a satisfying selection of R&B, dance, pop, post-disco, and funk. The album’s lead single is the electrifying synthfunk track “Love Is in Control (Finger on the Trigger).” Summer delivers a superb vocal performance. The song showcases her considerable range as a singer, as she effortlessly transitions from her soulful lower tone to her higher register, lighting up the chorus with her fiery falsetto. This hot dance jam is masterfully produced and arranged, featuring a monstrous synth bass line, an explosive chorus, and a splendid sax solo from Ernie Watts. It also boasts a fantastic horn arrangement and some great rhythm guitar parts.
The song is about taking ownership of your emotions and desires and maintaining a sense of independence and self-awareness in romance. The line in the chorus, “Love is in control,” speaks to the sense of empowerment that comes with taking control of your heart and desires. Now that the song’s narrator has found real love, her life has changed, and her “finger is on the trigger” as she’s ready to jump in and fully commit to this person with no reservations.
“Love Is in Control (Finger on the Trigger)” was written by Quincy Jones, Rod Temperton, and Merria Ross. It was released in June 1982 on Geffen Records. The song performed well on the charts, peaking at #10 on the Billboard Hot 100, #4 on Billboard’s R&B singles chart, and #3 on Billboard's Dance Club Charts. It also enjoyed major chart action in other parts of the world, landing in the top 10 in many countries, including Finland (#3), the Netherlands (#6), Norway (#3), South Africa (#7), and Switzerland (#4). And it charted in the top 20 and several other nations. The song earned Summer a Grammy nomination for Best Female R&B Vocal Performance at the 25th Annual Grammy Awards in 1983.
“Love Is in Control (Finger on the Trigger)” was featured on the soundtracks of the films Magindanao (1982) and Lost in America (1985). And it was featured in an episode of the animated sitcom Bob’s Burgers (season 5, episode 4, 2014). Additionally, it was sampled on “Figga Trigga” by The Tabledancers. Sheena Easton covered the song for her 2000 album Fabulous. She released it as the album’s second single in 2001.
Here’s the full personnel for “Love Is in Control (Finger on the Trigger)”: Donna Summer (lead and backing vocals), Leon Ndugu Chancler (drums), Michael Sembello (guitar), Ernie Watts (tenor saxophone solo), Greg Phillinganes (synthesizers, synth bass), Paulinho Da Costa (percussion), Michael Boddicker (synthesizer [Polymoog] Vocoder), backing vocals (Donna Summer, Howard Hewitt, James Ingram and Phillip Ingram), and the horn section consisted of Bill Reichenbach Jr. (trombone), Gary Grant (trumpet), Ernie Watts (saxophone), and Jerry Hey (trumpet). Hey was also responsible for the song’s excellent horn arrangement.
The official music video for “Love Is in Control (Finger on the Trigger)”
Donna Summer performing "Love Is in Control" during her 1983 televised concert titled Donna Summer: A Hot Summer Night
Groundbreaking soul artist D’Angelo died on Tuesday, October 14, following a private battle with pancreatic cancer. He was 51. The four-time Grammy winner was a pivotal figure in the neo-soul movement that emerged in the mid-1990s. He stunned the music world with the release of his landmark album Brown Sugar in 1995. The mesmerizing title track heated the airwaves and found its way onto many personal playlists, and the rest of the album is equally brilliant.
His next two albums, Voodoo(2000) and Black Messiah (2014), were instant classics, showcasing D’Angelo’s continued growth as an artist. His sound was a satisfying gumbo of gospel, R&B, soul, jazz, and hip-hop. He was a gifted singer-songwriter and producer, as well as a charismatic live performer. He was also an accomplished multi-instrumentalist, playing guitar, drums, bass, keyboards, and saxophone. And he owned one of the most soulful voices in contemporary music.
D’Angelo made a huge impact on music through his phenomenal talent and artistry, influencing legions of artists. Some of the prominent artists that he has had a major influence on include Frank Ocean, Childish Gambino, Miguel, The Weeknd, Janelle Monáe, Giveon, SZA, Anderson .Paak, H.E.R., and Daniel Caesar.
D’Angelo was born Michael Eugene Archer in Richmond, Virginia, on February 11, 1974. His father was a Pentecostal preacher. Growing up in the church, D’Angelo developed a love for music at an early age. He began playing the piano at the age of three, picked up the organ at four, and by the time he was five, he was playing piano alongside his father during church services. Some of D’Angelo’s key musical influences were Prince, James Brown, Stevie Wonder, Miles Davis, Sly Stone, Curtis Mayfield, Marvin Gaye, the Pilgrim Jubilees, Earth, Wind & Fire, and Robert Blair (leader of the gospel group Fantastic Violinaires).
D’Angelo formed his first band, Michael Archer and Precise, at age 16. The band had three consecutive wins at The Apollo Theater's Amateur Night competitions in Harlem, New York City. Encouraged by this, D’Angelo dropped out of high school at 18 to launch a music career in New York. He landed a recording contract with EMI Records in 1993, following a three-hour piano recital for record executives.
He released his debut album, Brown Sugar, on July 3, 1995. The collection was showered with praise by critics and music lovers, and D'Angelo was heralded as an important new voice in R&B and soul music. He followed up the great promise of his debut album with the incredible masterworks Voodoo and Black Messiah, leaving no doubt that he was one of the most talented and innovative artists of his generation.
D’Angelo’s amazing music legacy will continue to live on through his superb recordings and videos of his soul-stirring performances. It will also live on through the many artists he has influenced and inspired. His music touched listeners in a very intimate, personal way that few artists can. He was truly a one-of-a-kind artist.
"Brown Sugar" video
Sugah Daddy - D'Angelo and The Vanguard
D'Angelo's live performance of Smokey Robinson's "Crusin'" and Curtis Mayfield's "Give Me Your Love"
