Funkatropolis

Bad Company's Shooting Star: A Rock Ballad Classic

2012-02-15T20:37:00.000-08:00

Bad Company's "Shooting Star" is one of my favorite rock ballads. The track is a cautionary tale about rock superstardom and all its excesses. The song tells the story of a kid named Johnny who dreams of becoming a rock star. He achieves this dream, but he falls victim to the excesses of rock stardom and dies young from a drug overdose. Unfortunately, this sad scenario continues to play out all too often in real life, particularly of late. Over the last few years, we've seen a more than a few music greats go out the way Johnny had in the song, making this track very timely and more relevant than ever.

There have been plenty of songs that have touched on this subject, but "Shooting Star" has a poignancy and quiet power that just moves the listener. The gentle, understated fashion in which Paul Rodgers sings the lyrics underscores the song's tragic tale. It also has a gorgeous chorus. The song was on Bad Company's triple-platinum album Straight Shooter (1975), which also included their top-ten smash "Feel Like Makin' Love." I thought "Shooting Star" was used very effectively for the opening credits of the film Wonderland, which is about the infamous Wonderland Murders in Hollywood Hills. It just seemed to fit so well.

British hard rock band Bad Company was formed in 1973. All four members had impressive rock pedigrees: Rodgers was previously the lead vocalist for Free; guitarist Mick Ralphs was formerly with Mott the Hoople; the late Boz Burrell had been the bassist for King Crimson; and drummer Simon Kirke had also been a member of Free. And the band was managed by the late Peter Grant, who also managed Led Zeppelin. The band was considered one of the first '70s supergroups and had a string of hit singles and a run of successful albums. Bad Company is one of the most acclaimed bands of the classic rock era, and Rodgers is widely regarded as one of the greatest rock vocalists of all time, with legions of artists and bands citing him as an influence both as a singer and a songwriter.

Bad Company disbanded in 1982, but has reformed in various incarnations over the years. However, none could touch the original powerhouse lineup of Rodgers, Kirke, Burrell and Ralphs in my opinion.

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The Carolina Chocolate Drops Bring Traditional Music To A New Audience

2012-02-10T23:04:00.000-08:00

Photo by Appalachian Encounters
The Carolina Chocolate Drops at the Sugar Grove Music Fest

The Carolina Chocolate Drops are a critically acclaimed traditional black string band from Durham, North Carolina. The band is dedicated to preserving the old-time sounds of North Carolina’s Piedmont region and bringing it to a new audience. The band puts a modern twist on traditional music and sometimes includes hip-hop beats in their old-time musical arrangements. Each member sings and trades off on several instruments, including the banjo, fiddle, guitar, harmonica, snare drum, bones, jug and kazoo. The members of the band are Rhiannon Giddens, Dom Flemons, Adam Matta Hubby Jenkins and Leyla McCalla. Some of the styles the band covers include the following: Country Blues, Piedmont Blues, Regional Blues, Neo-Traditional Folk, Neo-Traditionalist Country, Folk and Modern Acoustic Blues. Their repertoire consists of original compositions and traditional string standards.

The Carolina Chocolate Drops formed in 2005 after its three founding members Giddons, Flemons and multi-instrumentalist Justin Robinson met at the Black Banjo Gathering at Appalachian State University in North Carolina. The 20-something musicians were drawn together through a mutual love for bluegrass, "jas," jug music and prehistoric country and rock. The band learned much of its early repertoire through jam sessions with esteemed old-time fiddler Joe Thompson. Since its founding, the band has released three albums and has toured internationally. Founding member Robinson left the band last year to pursue other endeavors. Following his exit, multi-instrumentalist/songwriter Hubby Jenkins and beatboxer and percussionist Adam Matta joined the band. Both musicians came out of New York City. And the most recent addition to the band is New Orleans-based cellist Leyla McCalla.

The Carolina Chocolate Drops have created quite a buzz on the music scene over the last few years. Last year, their album Genuine Negro Jig won a Grammy for "Best Traditional Folk Album," and they were awarded the Beyond Artist of the Year Award by DownBeat Magazine. And in 2008, they became the first African-American string band to appear on the Grand Ole Opry since the show debuted in 1925. They have also toured with legendary musician Taj Mahal and appeared on the live radio variety show A Prairie Home Companion. The band's new album, Leaving Eden, is set to be released on February 28, 2012.

It's great to see talented young musicians embracing traditional music forms and bringing it to a new generation of music listeners. Hopefully the band will inspire other young musicians to follow suit.

Purchase Leaving Eden at Amazon

Here's the band's old-time string treatment of Blu Cantrell's "Hit 'Em Up Style (Oops!)"

Their performance of Papa Charlie Jackson's "Your Baby Ain't Sweet Like Mine"

Great Clip Of Sly & The Family Stone Performing A Medley of Their Hits On TV Variety Show

2012-02-09T20:29:00.000-08:00

I found this great clip of Sly & The Family Stone performing on the Smothers Brother Comedy Hour in 1968. The quality is surprisingly good for such an old clip. The band performs a medley of their songs "Hot Fun in the Summertime," "Don't Call Me Nigger, Whitey" and "I Want to Take You Higher." Love the reactions of the audience members, especially the girl at 0:22. It looks like everyone is having a blast and getting their groove on. During this period, Sly & The Family Stone were one of the baddest live acts on the music scene. And check out those wild outfits the band's wearing on stage, particularly Sly's crazy two-piece getup.

The Smothers Brothers Comedy Hour was a comedy and variety show that aired on CBS from 1967-1969. It contained comedy sketches and musical performances. When it aired, comedy variety shows were all the rage. A slew of comedy variety shows aired during the late '60s and early '70s, such as The Sonny & Cher Comedy Hour, The Flip Wilson Show and The Carol Burnett Show.

Related blog entry: Review of Sly & the Family Stone's Stand!

Ripple's I Don't Know What It Is, But It Sure Is Funky

2012-02-08T02:26:00.000-08:00

"I Don't Know What It Is, But It Sure Is Funky" is a groovalicious blast from the past from interracial Michigan soul-funk band Ripple. The band dropped this funk gem back in 1973, and it became a big hit on soul radio stations. The powerful groove has a slight Afro-funk flavor to it. The "Ola Ola aa!" soul warrior chant is a killer hook. The song also has a tight bass line and some badass horn riffs.

Ripple had several hits during the '70s, but this was their biggest smash and what they're most remembered for. The track rose to number 11 on the US R&B charts and peaked at 67 on the pop charts. The band only released two albums: Ripple (1973) and Sons of the Gods (1977). Ripple had a pretty diverse sound. The band incorporated jazz, funk, pop as well as other genres in their music. Some of Ripple's influences included Stevie Wonder, Sly & The Family Stone and Kool & The Gang.

The seven-member band consisted of the following musicians: Keith "Doc" Samuels (guitar, lead vocals); Simon Kenneth Carter (bass, vocals); Brian Sherrer (drums, percussion, timbales); Walter "Wally" Carter (conga, percussion, vocals); Dave Ferguson (trumpet, flugelhorn, percussion); William "Bill" Hull (tenor sax, flute, percussion); and Curtis Reynolds (keyboards, vocals).

In 2010, Reynolds and Samuels reformed the band, calling it Ripple 2.0. They released the album I Don't Know What It Is But There's More To Come under the new name.

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Music Series Unsung Profiles R&B and Soul Greats

2012-02-06T17:24:00.000-08:00

Singer Evelyn "Champagne" King

My friend recently hipped me to this terrific documentary TV series called Unsung. It's similar to VH1's Behind the Music, except it focuses on old-school artists who were at their career peaks in the 1970s and '80s. The show profiles talented artists in the genres of R&B, funk, soul, disco and hip hop. Many artists profiled on the show were really popular back in the day, but have kind of fallen off the radar of late. So it's a good way to catch up on what they've been up to. Here's a list of some of the artists and bands who have been profiled on the show: Angela Winbush, Big Daddy Kane, Phyllis Hyman, George Clinton, Klymaxx, Sylvester, Billy Preston, The Bar-Kays, Bobby Womack, The Fat Boys, Evelyn "Champagne" King and Heatwave.

Unsung premiered on the American television channel TV One on November 27, 2008. I don't get TV One in my cable package, but fortunately episodes are available online. A lot of full episodes have been uploaded at Youtube. I recently watched an episode on '80s R&B songstress Stacy Lattisaw and thought it was topflight. The Unsung episodes are well-researched with plenty of eye-opening interviews from industry insiders, friends, family and fellow artists. The episodes also include tons of great performance footage. Each episode is an hour long, and they manage to pack a lot into those 60 minutes. Last year, the series won an NAACP Image Award for "Outstanding Information Series or Special."

Soul Train Creator and Host Don Cornelius Dead at 75

2012-02-01T17:54:00.000-08:00

On Wednesday morning February 1st, Don Cornelius, the creator and host of the iconic dance/music show Soul Train, was found dead in his home from an apparent self-inflicted gunshot wound. Police found Cornelius' body around 4 a.m. at his home in Sherman, Oaks, California, and he was taken to Cedars-Sinai Medical Center, where he was pronounced dead. He was 75.

Cornelius created Soul Train as sort of the black answer to American Bandstand, a show that would provide a showcase for black artists and their music. The show had a huge cultural impact in that it gave black artists a medium through which they could reach a much wider audience. Although Soul Train primarily focused on soul, R&B, funk and hip hop artists, musicians from other genres often performed on the show. A plethora of music legends have performed on the Soul Train stage, from James Brown to David Bowie. And in addition to the musical artists, the Soul Train dancers became semi-celebrities in their own right and would entertain viewers every Saturday afternoon with their new dance moves on the legendary Soul Train line.

Cornelius, who was also the show's executive producer, was known for his smooth, low-keyed interviewing style and his famous catchphrase, "you can bet your last money, it's all gonna be a stone gas, honey!" as well as his parting words at the end of the show, "and as always, we wish you love, peace and sooooulll!" Soul Train aired in syndication for 35 years (1971-2006) and holds the title for the longest, continuously running syndicated program on TV.

Cornelius was born in Chicago, Illinois on September 27, 1936. He served in the Marines in Korea and sold insurance among other jobs before going into radio broadcasting. He began his career in radio in 1966 as a fill-in disc jockey and news reader at WVON-AM, a Chicago radio station aimed at the black community. He also moonlighted as a sports reporter on a show called "A Black's View of the News" on WCIU-TV, a small local station.

Cornelius recognized the need for a venue for soul music on television. In 1970, he pitched the idea for a black-oriented dance/music show in the vein of American Bandstand to WCIU's management, and they liked the idea. Soul Train premiered on WCIU-TV August 17, 1970, as a live show airing weekday afternoons. Jerry Butler, the Chi-Lites and the Emotions were the first musical guest performers on the show. It was an instant hit and caught the attention of Johnson Products Company, which later co-sponsored the program's expansion into national syndication. Soul Train began airing on a weekly basis in October of 1971, and the show also moved to Los Angeles at that time. Cornelius stepped down as host in 1993 but remained its executive producer.

In 1987, Cornelius launched the Soul Train Music Awards, an annual award show that honors musical artists in the fields of R&B, hip-hop and gospel music. The award show is still going strong today. The Soul Train brand expanded even further with two additional annual specials: The Soul Train Lady of Soul Awards (premiered in 1995) which celebrates top achievements by female performers; and the Soul Train Christmas Starfest (premiered in1998) that features holiday music performed by a variety of R&B and gospel artists.

Cornelius left a huge legacy with the influential Soul Train franchise. The show was instrumental in helping countless black artists break through to a wider audience. And for many of us, the show was an important part of our childhood. I remember as a kid (and later as a teen) looking forward to watching Soul Train on Saturday afternoons to catch hot live performances from some of the most talented musical artists of the day, as well as learn the latest dance steps from the Soul Train dancers. Rest in peace Mr. Cornelius. You will be sorely missed.

Glee Pays Tribute To Michael Jackson Tonight

2012-01-31T15:11:00.000-08:00

Fox's mega-popular series Glee is dedicating an entire episode to Michael Jackson's music tonight. The Glee cast will cover ten of MJ's songs. Here is the song list for tonight's episode: "Wanna Be Startin' Somethin'," "Smooth Criminal," "Black or White," "Never Can Say Goodbye," "Bad," "Scream," I Just Can't Stop Loving You," "Ben," "I Want You Back" and "Human Nature." It's interesting that "Billie Jean" and "Beat It" are not on the list. It seems that they would have been obvious choices, but overall it's not a bad list. I've already watched the Glee treatment of "Smooth Criminal" and "Wanna Be Startin' Somethin'" on youtube. The cover of "Wanna Be Startin' Somethin'" is pretty decent, but they do a really good job on "Smooth Criminal," which features some great cello playing by renowned duo 2Cellos. Here's a clip of the performance:
I'm not a big Glee fan. I think I've only watched one or two episodes, but I'll definitely have to check out tonight's episode. It will be interesting to see what they do with the other songs on the list. The episode is scheduled to air at 8:00-9:00 p.m. ET/PT on Fox.

Related blog entry: Michael Jackson's Bad: Out Of The Shadow Of Thriller

Review of Funkadelic's Hardcore Jollies

2012-01-27T22:24:00.000-08:00

Hardcore Jollies (1976) was Funkadelic's last guitar-driven, rock-oriented album before the band shifted toward a more dance-based sound that characterized the landmark One Nation Under a Groove and its excellent follow-up Uncle Jam Wants You. This is also Funkadelic's first album with Warner Bros. after recently parting ways with independent label Westbound. Hardcore Jollies is probably The Funk Mob's most underrated album. It doesn't get a lot of love from critics or P-Funk fans, but there some hidden gems to be found on it.

The album kicks off that with the monster rock/funk track "Comin' Round the Mountain," which was written by George Clinton and axe master Eddie Hazel (under his commonly used pseudonym Grace Cook). Hazel delivers a scorching solo near the end of the track, and legendary drummer Buddy Miles holds the groove down with some killer beats. "Comin' Round The Mountain" was the perfect track to set off Hardcore Jollies proper.

Next track up is "Smokey." Penned by Clinton and Garry Shider, "Smokey" is flat-out brilliant. The track is difficult to categorize. I would describe it as extraterrestrial gospel/funk. Glen Goins' incredible, gospel drenched vocals will send shivers down your spine. Bernie Worrell's sludgy synth bass creeps beneath the groove like bubbling swamp ooze, and Shider and Goins trade some nasty rhythm guitar licks. The spooky background harmonies are provided by P-Funk vocalists Mudbone, Fuzzy Haskins, Calvin Simon, Garry Shider, Grady Thomas and Ray "Stingray" Davis. "Smokey" is one of those tracks that just floors you upon first listen and addicts you immediately.

"If You Got Funk, You Got Style" has kind of a Parliament-like flow going on. It's not surprising that the song was written by Clinton, Worrell and Bootsy, the writing team behind some of Parliament's biggest hits. However, the track sounds a bit more freaky than most Parliament cuts. The song delivers a truckload of funk. Clinton brings his signature freaky-pimp ghoul singing voice, which fits quite nicely on this track. And Ray Davis' bass vocals add some extra flavor to the song. The "go ahead" chant is an irresistible hook, and Bootsy lays down some mean space bass.

Title track "Hardcore Jollies" is a blistering rock/soul workout that showcases Michael Hampton's considerable chops as a guitar slinger. Here, Hampton shows why he became the lead guitarist for P-Funk following Hazel's exit from the band.

"Soul Mate" is a freaky kind of love song with Clinton handling the lead vocals. Not one of my favorite Funkadelic songs, but it's a solid ballad.

A live verison of the band's 1973 classic "Cosmic Slop" features some more great axe work from Hampton as well as some tasty licks from Shider and Goins. Recorded live in Hangar E at Stewart Airfield in Newburgh, New York during rehearsals for the P-Funk Earth Tour, this version is a bit faster than the original but still maintains its power to move the listener.

"You Scared The Lovin' Outta Me" is a great ballad that contains another fantastic vocal performance by Goins. And Mudbone provides some cool background vocals. Another underrated gem.

The album ends with "Adolescent Funk." The song has a real chill, laid-back vibe. There are no lyrics, just some scattered background vocals. Worrell shines on this track, displaying his prodigious keyboard skills. It's a nice mellow way to close out the album.

Another great thing about this album is Pedro Bell's amazing cover art. It's one of Bell's best works and my favorite Funkadelic album cover. So there's a lot to like about Hardcore Jollies.

Purchase the album at Amazon

Bootsy Stretches Out His Funky Rubber Band On Late Night TV

2012-01-24T14:38:00.000-08:00

Bootsy blew the doors off the hinges with a massively funky performance of his hit "Stretchin' Out (In a Rubber Band)" on the late night television show Night Music back in 1989. The funkster was joined by sax legend David Sanborn and the late, great guitarist Hiram Bullock for the funk session. P-Funk veteran Gary"Mudbone" Cooper and powerhouse duo Pretty Fat provided backup vocals. Late night television rarely gets this funky. You can damn near smell the funk up on the stage. The premise of the short-lived Night Music (1988-1990) was to bring together a diverse selection of musicians from different genres and have them find common ground musically. Shame the show didn't have a longer run.

Epic All-Star Tribute To George Harrison

2012-01-18T22:04:00.000-08:00

Tom Petty, Jeff Lynne, Steve Winwood, Prince and Dhani Harrison pay tribute to George Harrison with an epic cover of the former Beatle's classic "While My Guitar Gently Weeps." Petty and Lynne do a terrific job on the lead vocals, and Prince blows the audience away with a gut-wrenching guitar solo. I like that big smile of approval George's son, Dhani, gives Prince during the solo at 4:54-4:57. The performance took place at The Rock and Roll Hall of Fame induction ceremony in 2004 where Harrison was inducted posthumously for his impressive work as a solo artist. This was the second time the music legend had been inducted into the Rock and Roll Hall of Fame. He was first inducted in 1988 alongside the other members of the Beatles. He no doubt would have dug this incredible tribute.

The Time's Cool: Smooth Funk From The Baddest Boys In Prince's Court

2012-01-16T14:32:00.000-08:00

This bumpin' chunk of Minneapolis funk was The Time's second single off their self-titled debut album. The Time began as one of Prince's side projects. The Purple One formed the band in 1981 as an outlet for some of his more straight-forward R&B and funk grooves, which freed him up to experiment with other music genres on his own recordings. Prince co-wrote "Cool" with Revolution guitarist Dez Dickerson. Prince produced and arranged the track as well as played all the instruments on the song's original recording. The groove has a smooth flow and is quite funky.

Prince adds some nice little touches that really spice up the track, such as tapping soda bottles with forks and spoons throughout the song. And Prince and Revolution keyboardist Lisa Coleman's background vocals add some extra flavor to the track. On this cut, The Time's lead singer Morris Day assumes his swaggering player persona that he later made famous in the film Purple Rain. You really need to listen to the full 10-minute-plus album version to completely appreciate the full impact of the groove. The long version has a nice guitar solo as well as some funky bass slapping and cool synthesizer vamps.

The Time are probably more recognized for their later hits, such as "Jungle Love" and "The Bird," but "Cool" is a killer groove that is often overlooked or underappreciated by funk fans. The original members of The Time are quite a talented bunch, and two of them went on to even bigger success after leaving the band. Jimmy Jam and Terry Lewis became a much sought-after production team, producing hot tracks for a slew of big names in the music biz, including Mariah Carey, Michael Jackson, Gwen Stefani, Usher and Chaka Khan. The duo's crowning achievement was their stellar production work on Janet Jackson's groundbreaking album Control. And Jesse Johnson is a gifted guitarist and talented songwriter who produced some great music as a solo artist, including the funkified hit song "Crazay," featuring Sly Stone. And Morris Day currently fronts a revamped lineup of The Time, which maintains a solid fan base.

Download the album at Amazon

Larry Graham's Ten Funkiest Bass Lines

2012-01-13T05:00:00.000-08:00

Larry Graham's slap-and-pop style revolutionized modern bass playing. The legendary musician is a pivotal figure in the bass world because of his phenomenal bass-playing skills and innovations on the instrument. He has influenced a generation of bass players, and his influence can be heard everywhere today in various music genres. The funk master has created a number of great bass lines over the years as a member of Sly & The Family Stone and later with his band Graham Central Station. I put together a list of what I think are his ten funkiest bass lines. Starting with number ten, here they go:

10) It's Alright - Graham Central Station
Larry's slingshot bass line catapults the groove to its funkiest capacity.
Check it out
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9) Hair - Graham Central Station
Larry was always coming up with interesting and unique bass lines at odd time signatures. This is one of his most creative riffs. And if you're a bass player, it's really fun to play.
Groove to it
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8) Thank You For Talkin' To Me Africa - Sly & The Family Stone
Larry puts some extra stank on this nasty groove with an incredibly funky bass line.
Check it out
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7) Earthquake - Graham Central Station
A bass-playing extravaganza where Larry rocks out as hard as he funks.
Groove to it
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6) Turn it Out - Graham Central Station
Larry and GCS drop three megatons of funk on this groove.
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5) It's the Engine in Me - Graham Central Station
Larry goes on the warpath on this massively funky slap-and-pop workout.
Groove to it

4) Pow - Graham Central Station
Learning to play this bass line has sort of become a rite of passage for aspiring funk players. As a teen I spent many hours trying to learn it and had the blisters to prove it. I never quite got it totally down pat, but it wasn't for lack of trying.
Check it out

3) Hey Mr. Writer - Graham Central Station
Funky ode to none other than Mr. Sly Stone. Larry's powerhouse bass line sounds like the engine of a funk locomotive.
Groove to it

2) The Jam - Graham Central Station
Larry delivers yet another ridiculously funky bass line on this appropriately titled track. Each GCS member gets a solo on this one. I heard this cut played everywhere back in the day. It's one of the band's most recognized grooves.
Check it out
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1) Thank You (Falettinme Be Mice Elf Agin) - Sly & The Family Stone
Well, here it is, the granddaddy of all slap bass lines. This is the one that started it all. There's no telling how many bass players decided to pick up the instrument after hearing Larry lay down this new innovative, extremely funky style of playing. This groove set off a new era in funk music, and players everywhere started slappin' and poppin'. Thank you indeed Sly and Larry.
Groove to it
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Brick Adds A Little Jazz To Their Funk For Hit Song Dazz

2011-11-16T05:16:00.000-08:00

Funk/jazz band Brick lit up the airwaves with their dance smash "Dazz" in late 1976. The track is an infectious fusion of funk, disco and jazz, and it had folks stampeding the dance floor back in the day. "Dazz" (meaning a hybrid of disco and jazz) is the second single off the Atlanta-based quintet's debut album Good High. The groove is anchored by Ray Ransom's sinuous bass line. And reed man Jimmy Brown pulls double duty on this track, playing both the sax and flute parts. He delivers a great jazzy flute solo during the song's breakdown.

There is something quite unique about this track that distinguished it from other popular R&B and dance records. It's jazzy funk over a hypnotic dance beat. The seductive groove captured the imagination of music lovers and dance-floor junkies alike. The song just beckons you to the dance floor, and you can't help but move and groove to it. Its slinky flow was perfect for doing the Body Language, a very popular dance on the urban dance scene back in the late '70s.

"Dazz" was written by Ransom and fellow Brick members Regi Hargis Hickman and Eddie Irons. The band sings the lead falsetto vocal in unison, which works really well on this track. The song shot to number one on the R&B charts where it remained for four weeks; and it climbed to number three on the pop charts. In addition to "Dazz," Brick scored a few other great tracks that also did well on the charts before disbanding in 1981.

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Average White Band: Scotland's Funkiest Import

2011-08-25T18:05:00.000-07:00

When funk music ruled the charts in the 1970s, Average White Band were one of the baddest R&B/funk outfits on the scene. Just looking at them you'd never imagine they could produce such monster funk. The Scottish sextet played like they were born and bred in one of America's funkiest hotbeds, spots like New Orleans, Detroit, Memphis and Philadelphia. AWB created a particularly potent brand of blue-eyed funk and soul and were significant figures in the funk revolution of the '70s.

The first song that I ever heard by Average White Band was their sizzling instrumental "Pick Up The Pieces" (1974), and I swore up and down that it was a track by James Brown's legendary band the J.B.'s and wound up having to eat my words when I found out who was really playing. It was clear that AWB were heavily influenced by Brown's super-syncopated, kick-the-doors-in funk style. But the band went beyond just being pupils of the Godfather's funk; they absorbed it and then charted out their own path--laying the funk back down with their own original flair and style.

Average White Band never faked the funk; they were no poseurs or some novelty act. And man could these cats play! Their grooves have been recycled on numerous hip hop and R&B records, and they have influenced several bands in their own right, including the Brand New Heavies and Level 42. And AWB could bring it on the mellow cuts as well. Check out "A Love of Your Own" and "Cloudy" for confirmation.

Average White Band was formed in Glasgow, Scotland in 1972 with the original lineup of Alan Gorrie (bass, vocals, keyboards, and guitar); tenor saxophonist Malcom "Molly" Duncan; rhythm guitarist and vocalist Onnie McIntyre; Hamish Stuart (guitar, bass and vocals); drummer Robbie McIntosh; and keyboardist/saxophonist Roger Ball. In addition to James Brown, some of the band's other influences included the Isley Brothers, Marvin Gaye, Sly & the Family Stone, Donny Hathaway, the Bar-Kays and Al Green; and you can hear these influences throughout AWB's oeuvre.

Their first album, Show Your Hand, was released in 1973. The album is a solid collection of R&B tracks, but it failed to generate much interest. However, their follow-up LP, AWB (released in August, 1974), was quite a different story. The album, which was produced by legendary producer and arranger Arif Mardin, was a massive success and put the band firmly on the map. The band kicked off the album with "Pick Up The Pieces." The track was a smash on both the R&B and pop charts, climbing all the way to number one on the U.S. Billboard Hot 100 chart. It is the band's most recognized song and is now widely regarded as one of the top funk songs of all time. Another standout track from the album is the Tower of Power-style funk burner "Person to Person." The album contains several other great cuts and went on to become a million seller.

The band was riding high with the enormous success of AWB, receiving love from both critics and record buyers alike. However, tragedy struck the band before they could fully enjoy their newfound success. Drummer Robbie McIntosh died from an accidental heroin overdose while at a Hollywood party on September 23, 1974. While still mourning the death of McIntosh, the band started working on their third album, Cut the Cake, recruiting black British drummer Steve Ferrone as McIntosh's replacement. The band members managed to pull themselves together and came back funkin' harder than ever with the release of Cut the Cake in June of 1975. The album is a cracking collection of funk and R&B tracks.

The percolating title song launches Cut the Cake with a bang. On this track, the band doesn't miss a speck of funk. It's chock full of sassy guitar licks and tight horn lines. On the album's track list, "Cut the Cake" is followed by "School Boy Crush," a slow, wickedly funky groove with a sinister bass line that effectively captures the butterflies and slight sense of terror a young kid experiences upon his first crush. And the sleigh bells are a nice touch, playing up the song's childlike vibe. Gorrie and Stuart's vocal trade-offs are epic and add so much to the track. "School Boy Crush" is a funk classic and has been sampled by a slew of hip hop and R&B artists, including Janet Jackson, TLC and Eric B. & Rakim. Other highlights on Cut the Cake include the irresistible "If I Ever Lose This Heaven," the James Brown-inspired "Groovin' the Night Away" and the beautiful ballad "Cloudy," where Stuart delivers an impassioned vocal performance. Cut the Cake was a big seller and rose all the way to number one on the R&B charts and number four on the pop charts. The band dedicated the album to McIntosh's memory.

In 1976, AWB came back strong with their fourth album Soul Searching. On this album, the band scored another great ballad with the gorgeous "A Love of Your Own." It's one of the great slow jams from the '70s. When this cut came on at parties back in the day, cats would scramble to find a fine young lady and try to get a slow dance. The biggest hit off the album was the smooth and breezy "Queen of My Soul," which went to number 21 on the R&B singles chart. And of course, AWB brought the funk again on this album. "I'm the One" is a laid-back funk groove with a super-cool horn arrangement. Even though the album didn't have any huge hits, it still went gold.

In the late '70s, AWB's record sales began to drop off, and their audience dwindled, a fate shared by many other great '70s funk and R&B acts near decade's end. However, the band has continued to produce great music over the years and still tours with a few lineup changes. And the band retains an extremely loyal and dedicated fan base. AWB left an indelible mark on funk and R&B music, and their legacy remains strong today.

AWB funk things up with a live performance of "Cut the Cake" on Soul Train in 1975.

AWB put some extra stank on the funk in their live performance of "School Boy Crush" on Soul Train in 1975.

Duwende: A Cappella Magic

2011-05-22T06:18:00.000-07:00

Sometimes I am really thankful for youtube's existence, because it has hipped me to a number of great musicians who I would have never known about had it not been around. And I have recently come across an amazing a capella band named Duwende on the popular video-sharing site. Duwende is made up of six very talented vocalists who are known for their singular bass-and-beatbox-driven funk/pop style. The members of the New York-based band are J. Aaron Boykin (baritone/tenor), Derrick L. Hicks (tenor), Abbey Janes (soprano), Neal Mortimer (tenor), Edward Chung (vocal percussion) and Ari Picker (bass). - ccfldddd

Their vocal work is fluid and inventive, with rich, soulful harmonies. Each member contributes his or her own unique flavor to Duwende's sound. The band covers a wide range of styles, including funk, rock, R&B, folk, hip hop and world beat. The band has released four albums since forming more than ten years ago and first made its mark performing in traditional rock clubs and venues. Duwende has since played at music festivals, colleges and special events all around the U.S., as well as headlining major a cappella shows, including the East Coast Summit, SoJam and AcappellaStock. The band has also performed on The Ellen DeGeneres Show and recently played on Park City Television during the 2011 Sundance Film Festival.

And at the 2002 Independent Music World Series, the editors of Billboard Magazine selected Duwende as one of the "Top 6 Indie Acts in the Northeast," and the band's album Radio Screaming (2004) won Best Pop/Rock Album from The annual Contemporary A Cappella Recording Awards (CARA) in 2005, with album single "I Fall" winning Best Original Song. And in 2008, Duwende's album Collective (2007) earned the band a second CARA win for Best Pop/Rock Album, as well as Best Original Song for single "Young Leaders of Tomorrow."

On May 24, Duwende will release a Michael Jackson tribute album titled Remember: The Music Of Michael Jackson, which contains covers of some of his biggest hits, including "Billie Jean," "Black or White" and "Rock With You." The members of Duwende, who cite MJ as their biggest inspiration, put their own original spin on his classic songs, showcasing the band's versatility and creativity. The collection is the band's first cover album. You can learn more about Duwende at their website. The band is signed to independent label Duwende Music LLC.

Download Remember: The Music Of Michael Jackson at Amazon.

Duwende's cover of "Don't Stop 'Til You Get Enough"

Duwende's cover of "Billie Jean"

Duwende performing original song "Sugar" live

Prince Tears The Roof Off The Sucka at the Forum in Los Angeles

2011-05-15T21:30:00.000-07:00

Photo by Fabhouse73

His Royal Badness continues to spread the funk across the nation with his Welcome 2 America Tour and is now thrilling Los Angeles audiences on his "21 Nite Stand" residency at the Forum in Inglewood, an LA suburb. Prince brought the funk with both barrels on Saturday night, May 7, at the legendary venue. After more than 30 years in the music biz, Prince showed that he hasn't lost a step and can still electrify an audience like no one else.

The show opened with a solid set by Grammy Award-winning jazz bassist and singer Esperanza Spalding. After Spalding completed her set, The Purple One and his band the New Power Generation hit the stage like a funky cyclone with a bumpin’ performance of "D.M.S.R." The raucous track was an inspired choice to kick off the show, getting everyone on their feet and in a party mood. Prince and his crew kept the groove factor high nearly the entire show, only occasionally slowing things down. And when Prince did slow things down, he killed. The band wowed the audience with a majestic performance of slow jam "Shhh," which climaxed with a blazing guitar solo by Prince.

Some of the other highlights included hot performances of hits "1999," "Let's Go Crazy," "Rasberry Beret," "When Doves Cry" and "Kiss." In addition, Prince and the NPG delivered a powerful, gospel-drenched reading of "Purple Rain" that took the audience to church. The set also featured a furiously funky cover of Sly & The Family Stone's classic "Thank You (Falettinme Be Mice Elf Agin)." The band also did covers of other great '70s funk tracks, such as Wild Cherry's "Play That Funky Music," "Love Rollercoaster" by The Ohio Players and Kool & the Gang's "Hollywood Swinging," where Prince had audience members chanting "Inglewood Swinging" in place of the original song title.

And Shelia E. received a big audience response for her roof-raising performance of her hit song "The Glamorous Life." And as he has done in previous shows, Prince had a well-known performer join him onstage for a song. This time he nabbed Nicole Scherzinger, former lead singer with the Pussycat Dolls, to perform "I'll Never Be Another Fool" with him. Scherzinger's gritty performance was a nice surprise, proving that she has some serious vocal chops that weren't fully utilized on the mostly lightweight dance/pop material she sang with PCD.

The show also featured a brilliant mashup of the Time's hit "Cool" and Michael Jackson's classic "Don't Stop 'Til You Get Enough."

It was an incredible show from start to finish, and audience members definitely got their money's worth and then some, with Prince returning for three encores. One of the things that struck me the most about the show was Prince's supreme confidence in everything he did. He took full command onstage, and there was no question of who was running the show. They don't call him His Royal Badness for nothing.

Eurythmics' Sweet Dreams (Are Made of This): New Wave Soul

2011-04-10T04:16:00.000-07:00

In 1983, British synth pop duo Eurythmics shot to stardom with their smash hit "Sweet Dreams (Are Made of This)" and its provocative music video. The song is a brilliant hybrid of sterile synth pop and sultry soul. Annie Lennox's powerful, emotive vocal performance pushed the song beyond the cold and detached aesthetic of the genre, catching the listener off-guard. When I first heard the song, I thought Lennox was black. I was like, "Who is this lady? She can blow." Musician, songwriter and producer Dave Stewart, the other half of the duo, nicely frames Lennox's vocals with a haunting and hypnotic synth groove.

I was surprised when I finally caught the video on MTV and found that the singer was a blue-eyed Scottish lass with close-cropped orange hair and sporting a man's suit and tie. The video has become an iconic classic of the early MTV era, years before the channel became a tedious reality show network.

Penned by Stewart and Lennox, "Sweet Dreams (Are Made of This)" is the title track of Eurythmics' sophomore album, a stellar collection of songs. The duo went on to produce more great music and landed several other big hits, but "Sweet Dreams" remains my favorite Eurythmics track. It is their signature song and rightly so.

Download at Amazon

Pedro Bell: Picasso of P-Funk

2011-03-13T03:59:00.000-07:00

Way back in the day, one of my favorite things to do after buying a new Funkadelic album was checking out Pedro Bell's sublime cover art while listening to the band's wildly inventive and intoxicating stew of rock, funk, soul and psychedelia. Bell's album covers were true works of art and played a big part in the P-Funk experience.

Back in the early 1970s, fledgling artist and illustrator Bell found the ideal muse in Funkadelic, as his oddly unique art style fit right in with the band's freaky image, irreverent themes and acid-funk sound. The two went together like a Super Fly perm and a pair of two-toned gators. The young artist's Funkadelic album covers were psychedelic landscapes filled with distorted cartoon images, bawdy humor and sharp satirical commentary. And all were set in a futuristic black urban milieu on the funky side of town. Bell's artwork was a pivotal component of P-Funk's mythology, providing a provocative visual to the band's frenetic, subversive music and George Clinton's ingeniously wigged-out themes and concepts. In addition to creating the albums' cover designs, Bell wrote the liner notes, which included clever puns, satirical observations, as well as P-Funk's silly-serious ideology.

Bell's first Funkadelic album cover was Cosmic Slop (released in 1973). The band actually had a promotional video for the album's title track, which I saw recently on youtube. It's freaky to say the least, but how many people actually saw the video back when the song was released? Prior to the MTV revolution in the early '80s, videos were not a big marketing tool in promoting musical acts. During the mid-'60s and '70s, album cover art played a huge part in disseminating a band or artist's image. And if you check out some of the old album covers from that era, you'll see that many were great pieces of art, particularly in the genres of rock, soul, jazz and funk.

Bell's phantasmagorical and grotesque cover art for Cosmic Slop looks like something Salvador Dali might have dreamed up after spending a wild weekend in the hood while on acid. The focal point of the cover is a topless black woman whose Afro appears to be made up of a multitude of flies in place of hair. Popping out from the middle of the bug 'fro is another woman's face, mouth agape. I can't tell if she's in rapt ecstasy or excruciating pain. The topless woman's teeth are jagged fangs, and the nipple on her left breast is a stereo volume dial. She also appears to be stoned, her eyes half-shut in possibly a heroin-induced stupor. And it looks like she has African tribal markings slashed across both cheekbones. An extraterrestrial creature spells out the album's title in a cosmic blast that disintegrates the woman's right shoulder, while a fetus floats in space nearby. Each letter in the album's title is made up of larval mutations, and a huge menacing horsefly hovers over the topless woman's head. In the background, there's a planet that consists mainly of a woman's butt cheeks. The cover also contains several other twisted and surrealistic images. The artwork on the album's inside cover is just as demented, with insect-faced pimps chilling with their mutant prostitutes. With this album cover, Bell created a warped parallel universe that could have only been inhabited by Funkadelic and their freakazoid acolytes. Who needs music videos when you've got someone like Bell to create amazing artwork like this for your album covers?

In all, Bell did the artwork for eight Funkadelic album covers. In addition to Cosmic Slop, he did the covers for Standing On The Verge of Getting It On; Let's Take It to the Stage; Tales of Kidd Funkadelic; Hardcore Jollies; One Nation Under a Groove; Uncle Jam Wants You (inside and back cover); and The Electric Spanking of War Babies. He also did four covers for George Clinton's solo albums, including Computer Games, which contains the influential funk classic "Atomic Dog." In addition to Bell's cover art, he's tried his hand at animation, screenwriting, comic books as well as his own music. One of Bell's more recent creations is a portrait of jazz innovator Sun Ra (2006).

Unfortunately, I've heard that Bell had fallen on some hard times. I read that he was near destitute and in poor health and was looking to sell some of his originals. This prompted the Black Rock Coalition to sponsor a benefit concert on his behalf on January 2, 2010. P-Funk keyboard wizard Bernie Worrell, who is a good friend of Bell's, was one of the performers at the fundraiser. I hope Bell's situation has improved and that he's still producing great art. Bell deserves more respect and recognition for all the brilliant artwork he has created. His contributions to the P-Funk universe are immense, and I've always considered him an unofficial member of the Funk Mob. He's certainly earned the distinction.

Three Pedro Bell cartoons from 1988:

Bernie Worrell shares some warm words about his friend Pedro Bell at the Black Rock Coalition-sponsored benefit concert dubbed "Miracle for a Maggot" that was held early last year:

Bootsy Collins Announces New Album Titled Tha Funk Capital of the World

2011-01-15T03:46:00.000-08:00

Funk legend Bootsy Collins recently announced the upcoming release of his new album Tha Funk Capital of the World. The album is set to drop April 26, and it will be the first studio album the iconic bass man has released in nearly five years. According to Billboard.com, Bootsy recorded the album as a way to memorialize some of his musical heroes, including James Brown, Jimi Hendrix, Thelonious Monk, Miles Davis and P-Funk guitarist/singer Garry Shider, who passed away last June. Bootsy explained to Billboard.com on how he was inspired to record the new album: "In 2008 we went out and did a tribute to James Brown tour with...as many of the JBs together as I could," he said. "That really got me thinking about all these great cats who are no longer around and how people are just forgetting about them, and the music is becoming so watered down now. We're forgetting the ones that really opened the door."

Tha Funk Capital of the World was recorded over the last two and a half years and consists of 16 tracks. The album features a diverse array of guest stars. Some of those joining Bootsy on the album include hip hop heavyweights Ice Cube, Chuck D and Snoop Dogg; Dr. Funkenstein himself George Clinton; Bootsy's late brother guitarist Phelps "Catfish" Collins; banjo phenom Bela Fleck; jazz mavens George Duke and Herbie Hancock; guitar virtuoso Buckethead; actor Samuel L. Jackson; the Rev. Al Sharpton; soul legend Bobby Womack; and Princeton scholar Cornel West.

Bootsy told Billboard that he wanted to mix it up a bit and not make it solely a funk album: "I wanted to add a little rock, a little jazz, a little gospel in there, just come up with this thing where I can break out into a whole new kind of area," he explained. "You still get a whole lot of funk, but at the same time we took a few different approaches."

The P-Funk alum plans to tour behind the album this year and is currently making appearances at the NAMM Show (which runs January 13-16) in Anaheim, California. He is also set to appear at the private Hard Rock Funk Legends show in New York City on Feb. 28.

Download album at Amazon

Earth, Wind & Fire's Shining Star: Funk that Inspires

2011-01-01T20:18:00.000-08:00

Clocking in at just 2:50, Earth, Wind & Fire's "Shining Star" is pure sonic perfection. The monster track is one of the band's most recognized songs and is a timeless classic. Written by EWF members Maurice White, Philip Bailey and Larry Dunn, the track illustrates how the band could flawlessly meld genres. The record is a superb fusion of heavy-duty funk, radio-friendly pop and a pinch of hard rock thrown in for good measure.

"Shining Star" was the lead-off single from the band's multi-platinum album That's The Way of The World, and they couldn't have chosen a better song to launch the LP. When the song exploded on the airwaves in early 1975, Earth, Wind & Fire were already an established and successful R&B/funk act with a sizable black following. "Shining Star" was instrumental in helping the band reach an even wider audience. I believe it was the irresistible chorus that clinched the song's crossover appeal. It sounds universal and is catchy as hell; you can imagine people across the globe singing along and grooving to it. It's one incredible hook.

The song also boasts stellar vocal performances from Maurice and Philip. Maurice's fiery tenor nicely complements Philip's soaring falsetto. Their vocal trade-offs give the song that extra punch needed to take it over the top. Verdine White lays down a massive earth-shaking bass line, and guitarist Al McKay delivers a scorching rock-flavored solo. And the horns accentuate the groove with hot salvos of brass funk.

"Shining Star" shot to the top of both the R&B and pop charts and sold more than a million copies. The song earned the band a Grammy at the 1975 Grammy Awards for Best R&B Performance by a Duo or Group with Vocals.

The song has turned up in numerous movies and TV shows. It's probably most recognized among television viewers for the episode of Seinfeld in which the rhythmically challenged Elaine attempted to get her groove on to the song.

The track's inspirational lyrics touch on one of the band's favorite motifs: self-love, dignity and faith in oneself, that every individual, no matter what station in life, is special and has inherent worth. Just hearing the groove can make you feel better about yourself... well for 2:50 anyway.

Download at Amazon

15 Funkiest Christmas Songs

2010-12-12T04:02:00.000-08:00

My sister recently suggested that I make up a list of the funkiest Christmas jams for my blog in recognition of the yuletide season, and I thought that was a really cool idea. So I began putting together a list of my favorite funky Christmas songs. It wasn't quite as easy as I initially thought, as there are a lot of great funky Christmas tracks out there from which to choose. I was originally just going to make it the top 10 funkiest Christmas jams but kept finding more great tracks. So here's the list of my 15 funkiest Xmas jams:

1) Santa Claus, Go Straight to the Ghetto - James Brown
On this track, James showed that his funk is perennial, great for any season. The groove sounds like a funky Santa Claus rollin' through the hood in a tricked-out sleigh. Also, the song has a great message. Disadvantaged kids in poor neighborhoods should not be forgotten when Christmastime rolls around. The subject of the song is one that is close to James' heart, as revealed in the following lyrics: "You know that I know that you will see. 'Cause that was once me."

Listen to it here.
Download at Amazon

2) Santa Claus is Coming to Town - The Jackson 5
The J5 bring youthful exuberance and excitement to their soulful, high-energy rendition of the Christmas classic.

Check it out here.
Download at Amazon

3) Christmas in Hollis - Run-D.M.C.
The legendary rap trio from Hollis, Queens bring some hip hop flavor to the Christmas holidays as they trade rhymes on this infectiously funky track. The rap group sample the opening riff from Clarence Carter's "Back Door Santa" to great effect here.

Listen to it here.
Download at Amazon

4) Soulful Christmas - James Brown
The Godfather returns to the list with another funky Christmas jam. It's from his album James Brown's Funky Christmas, the same album in which "Santa Claus, Go Straight to the Ghetto" is on.

Check it out here.
Download at Amazon

5) Santa's Got a Bag of Soul - The Soul Saints Orchestra
The Soul Saints Orchestra gives a nod to the yuletide season with some raw, uncut old-school funk.

Listen it here.
Download at Amazon

6) Funky Christmas Song Ho Ho Ho- The Perry Brothers featuring Dirty Jenny on guitar
I recently came across this very funky Christmas cut on youtube by the comedy duo The Perry Brothers. The song features some tasty licks from guitarist Dirty Jenny.

Check it out here.

7) Happy Holidaze - Bootsy Collins featuring Snoop Dogg
Bootsy and Snoop team up on this stupidly funky Xmas track.

Listen to it here.
Download at Amazon

8) Christmas Rappin' - Kurtis Blow
Rap pioneer Kurtis Blow celebrates the holidays with this great rap/dance track.

Check it out here.
Download at Amazon

9) Rudolph The Red-Nosed Reindeer - The Temptations
The Temps bring a little smooth Motown soul to this Christmas classic.

Listen to it here.
Download at Amazon

10) Christmas Wrapping - The Waitresses
I always look forward to hearing this song on the radio around the Christmas holiday. The song is great fun and has a cool energetic bass line.

Check it out here.
Download at Amazon

11) Get Down Santa - The Jive Turkeys
Badass instrumental ode to Saint Nick.

Listen to it here.
Download at Amazon

12) Merry Christmas Baby - Stevie Wonder and Wyclef Jean
Stevie and Wyclef do it up big on this funkalicious reworking of the old classic.

Check it out here.

13) Run Rudolph Run- Chuck Berry
Okay, this is actually vintage rock & roll rather than funk or soul, but it's such a great song that I just couldn't leave it off the list. Plus it's Chuck Berry.

Listen to it here.
Download at Amazon

14) White Christmas- Otis Redding
Otis delivers an incredibly soulful interpretation of Irving Berlin's Christmas classic.

Check it out here.
Download at Amazon

15) Funky Christmas - Groove Thangs

Groove Thangs close out the list with some James Brown-style old-school funk for the holidays.

Listen to it here.

*edit: bonus song* I just recently came across this really funky Christmas track by Rufus Thomas, which would have definitely made my list had I known about it when I was putting it together. It's called "I'll be your Santa, Baby."

Check it out here.
Download at Amazon

"Thank You (Falettinme Be Mice Elf Agin)": Sly & The Family Stone's Groundbreaking Funk Classic

2010-11-01T13:54:00.000-07:00

During the latter part of 1969, Sly & The Family Stone were still basking in the heady afterglow of their legendary performance at Woodstock earlier that summer. The band needed an encore after such a huge career peak, something that would be just as powerful and mind-blowing. With that, bandleader, songwriter, multi-instrumentalist and producer Sly Stone got to work on what would be one of the band's most daring and groundbreaking records.

"Thank You (Falettinme Be Mice Elf Agin)" hit the airwaves like a volcanic eruption in December of 1969. I was ten, and hearing the song for the first time had a profound effect on me. To my young ears, the song sounded unlike anything I had ever heard before. It was innovative and fresh, sounding light years ahead of most of the other records being played on the radio at the time. The first thing that grabbed my attention was Larry Graham's preternaturally funky slap-and-pop bass line. At the time, I wasn't sure what instrument was being played. I had never heard a bass line played in such an aggressive and percussive fashion. All I knew is that it sounded incredible. Following "Thank You," legions of bass players, particularly in funk and R&B music, started slapping and popping.

"Thank You" is an amazing musical achievement. It is a brilliantly crafted mosaic of interlocking guitar rhythms, tight horn lines, a thunderous back beat and an infectiously sanctified chorus. Also, Sly demonstrated his gifts as a lyricist; his hip, poetic lyrics reflect on his inner struggle to maintain his identity in the wake of rock superstardom and all the temptations that come with it.

This song is a great example of the band's ability to create music that is at once inventive and immediately accessible. And it is considered one of the most influential funk records of all time.

Download at Amazon

Prince announces his Welcome 2 America Tour

2010-10-19T21:53:00.000-07:00

Prince playing at Coachella 2008 (photo by Scott Penner)

His Royal Badness held a press conference at Harlem's legendary Apollo Theater on October 14 to announce his upcoming Welcome 2 America Tour, which will kick off in December this year. The groundbreaking artist referred to the tour as being "multiple nights of entertainment" but didn't elaborate. So there's a good possibility that it could be a series of concerts at one venue as he did with his Earth Tour at London's 02 Arena in 2007.

Prince assembled an impressive line-up of high-caliber talent to join him on the concert series. Some of the artists who will be part of the tour include Maceo Parker, Larry Graham, Sheila E., Mint Condition, Cassandra Wilson and Janelle Monáe, who Prince called "his favorite new artist."

The Purple One promised that a funky good time will be had by all: “Bring your friends, bring your children, and bring foot spray, because it’s going to be funky."

Update (May 2011): Read my review of Prince at the Los Angeles Forum.

Phelps "Catfish" Collins loses battle with cancer at 66

2010-08-06T20:40:00.000-07:00

It's been a rough year for P-Funk. Less than two months ago, Garry "Starchild" Shider passed on. And today Uncle Jam's Army lost another one of its funkiest soldiers; rhythm guitarist extraordinaire Phelps "Catfish" Collins died from cancer at the age of 66. Catfish contributed his nasty rhythm licks to some of the most legendary funk cuts ever recorded. He was a member of the P-Funk collective when it was at the peak of its powers and creativity. Catfish was also an integral part of Bootsy's Rubber Band, a P-Funk offshoot centered around the virtuoso bass-playing talents of his charismatic younger brother Bootsy. Additionally, he and Bootsy were members of the original lineup of the J.B.'s, one of James Brown's tightest and funkiest bands.

Catfish was born and raised in Cincinnati, Ohio. He and brother Bootsy formed a funk band called the Pacemakers in 1968. The band also featured Frankie "Kash" Waddy on drums and late R&B vocalist Philippé Wynne. In late 1969, the Pacemakers were hired on as James Brown's rhythm section after most of his band quit following pay disputes. The band came to be known as the J.B.'s and played on some of The Godfather's most iconic funk cuts, including "Get Up (I Feel Like Being a) Sex Machine," "Super Bad" and "Soul Power." The band was pivotal in helping Brown further shape his raw, groove-heavy sound at the outset of the new decade.

The Collins brothers, along with Waddy and Wynne, left the J.B.'s in 1971. Wynne joined the famed R&B group the Spinners and went on to achieve much acclaim as their lead singer, while Catfish and Bootsy formed the short-lived funk band known as the House Guests, which included Waddy on drums. The following year, the two brothers and Waddy joined Parliament/Funkadelic and played on Funkadelic's fourth studio album America Eats Its Young. One of Catfish's most notable contributions to P-Funk was his sublimely funky guitar work on Parliament's classic dance cut "Flash Light."

In 1976, Bootsy formed Bootsy's Rubber Band. The band consisted of Catfish, Waddy, Gary "Mudbone" Cooper (vocals), Robert "P-Nut" Johnson (vocals), Joel "Razor Sharp" Johnson (keyboards), and the Horny Horns, which included Rick Gardner (trumpet) as well as funk horn legends Fred Wesley (trombone) and Maceo Parker (saxophone). Catfish helped co-write the songs "Psychoticbumpschool" and "Another Point of View" on the band's debut album Stretchin' Out in Bootsy's Rubber Band.

Catfish has also played on records by Deee-Lite, Freekbass and H-Bomb. His contributions to funk music were immense and will never be forgotten. Rest in peace Catfish.

Here's a clip of Catfish displaying his funky guitar-playing chops as a member of the J.B.'s:

P-Funk Legend Garry "Starchild" Shider dies at age 56

2010-06-18T00:36:00.000-07:00

Garry Shider photo by Snabby

On June 16, P-Funk guitarist/singer Garry Shider passed away after battling lung and brain cancer. He died just a month short of his 57th birthday. Shider first worked with the Funk Mob on the Maggot Brain album (released in 1971) and officially became a member of the band in 1972. Shider brought his versatile guitar playing skills and great vocal talents to the iconic funk/rock collective and was instrumental in helping forge the band's unique sound. Shider was also a great showman and often donned a huge diaper while performing onstage, which earned him the nickname "Diaperman." His other moniker was "Starchild."

Shider was also a talented songwriter. Some of the songs he co-wrote for P-Funk include "Do That Stuff," "One Nation Under a Groove" and "Night of the Thumpasorus Peoples." And he contributed to the writing of George Clinton's influential funk anthem "Atomic Dog." Shider also brought his soulful, gospel-drenched vocals to a number of P-Funk jams, including the classic Funkadelic cut "Cosmic Slop." With Shider's passing, the world just got a little less funky. Play on brother Starchild and continue funkin' into eternity.

Here's Shider displaying his strong vocal chops and great stage charisma on "Cholly (Funk Gettin Ready to Roll)" from the One Nation Under a Groove LP.

And here's a diaper-clad Shider doing his thing on a live version of "Cosmic Slop."

Ten Favorite Summer Jams

2010-06-03T20:41:00.001-07:00

Summer's almost upon us again, so I thought I'd make a list of my ten favorite summer jams.

1)"Summer" - War

For me, this is the ultimate summer jam. It has a nice breezy vibe goin' on. It's a really soothing jam, one you can just kick back and listen to while drinking a beer or just chillin'. It's also a great song to listen to while cruising on a warm summer day. Beautiful song.

Listen to it here.
Download at Amazon

2)"Hot Fun In The Summertime" - Sly & The Family Stone

Whenever I hear this song, it takes me back to when I was a kid visiting my relatives in Ohio during the summer. Really cool song.

Listen to it here.
Download at Amazon

3)"Best of My Love" - The Emotions

This song always reminds me of a bright summer day when I hear it. It's a timeless pop/soul classic penned by Maurice White and Al McKay from Earth, Wind & Fire, and The Emotions' voices are in top form on this song.

Listen to it here.
Download at Amazon

4)"In The Summertime" - Mungo Jerry

This song has an irresistible, goofy charm to it. It was the British folk/jug/rock/blues band's biggest hit. The song never gets old.

Listen to it here.
Download at Amazon

5)"Mr. Blue Sky" - Electric Light Orchestra.

This song always puts me in a summer mood, no matter what time of year it is. It's one of the happiest jams I've ever heard and is my favorite ELO cut.

Listen to it here.
Download at Amazon

6)"Master Blaster (Jammin')" - Stevie Wonder

I like how Stevie fuses reggae with his own unique sound on this song. An excellent summer jam and a great addition to Stevie's massive catalog of hits.

Listen to it here.
Download at Amazon

7)"Good Vibrations" - The Beach Boys

This brilliantly crafted pop song sounds like hordes of people hitting the beaches in Southern California during the summer. Brian Wilson's stellar songwriting chops are in clear evidence on this classic.

Listen to it here.
Download at Amazon

8)"Holiday Road" - Lindsey Buckingham

This joyful jam was used for the 1983 hit comedy Vacation starring Chevy Chase. The song fit perfectly for the fun summer film.

Listen to it here.

9)"California Love" - Tupac Shakur

Rap legend Tupac Shakur collaborated with beat maestro Dr. Dre and funk master Roger Troutman for this prodigious rap anthem. In 1995 people all over Los Angeles were bumpin' this track in their cars. It sort of became the LA theme song of '95. It's a great song to blast out of your car while cruising, especially during the summer.

Listen to it here.
Download at Amazon

10)"Summer in The City" - The Lovin' Spoonful

An infectious, hook-filled summer classic. In my view, a list of great summer tunes wouldn't be complete without this song on it. The song pulls the listener in from the very first note.

Listen to it here.
Download at Amazon

Maceo Parker: Funk's Legendary Saxman

2010-05-14T22:36:00.000-07:00

Maceo Parker Photo by iwona_kellie

Maceo Parker's name is synonymous with funk. When I hear his name, I immediately think of greasy, raw, uncut funk. I can say without exaggeration that Maceo is the funkiest sax player on the planet. He was James Brown's go-to guy on some of the funkiest records ever recorded. When a groove had reached its apex of funkiness, James would often call for Maceo to bring one of his roof-burning sax solos to the mix. And miraculously Maceo would make the groove even funkier.

He consistently delivered massive doses of funk on each of his solos. He could improvise solo after funky solo, with each one being funkier than the last. It's no wonder that Maceo was the most showcased musician in James Brown's rotating squadron of funky players. My brother once told me that when he was little, he thought James was shouting, "Mercy!" when he was calling for Maceo, which is fitting because Maceo did indeed bring some mercy to the mind and soul with his incredibly funky solos.

Maceo also had a long and productive tenure playing with Parliament/Funkadelic as a member of the Horny Horns. He played on some of Parliament's biggest hits and contributed solos to iconic cuts like "Flashlight" and "P-Funk (Wants To Get Funked Up)." He also played on all four Bootsy's Rubber Band albums, three of which (Strecthin' Out In Bootsy's Rubber Band, Ahh... The Name Is Bootsy, Baby! and Bootsy? Player of the Year ) are undisputed funk classics.

In addition to The Godfather and The Funk Mob, Maceo has recorded with a cavalcade of prominent artists and bands, including Keith Richards, Red Hot Chili Peppers, The Dave Matthews Band and Living Colour. Maceo has also recorded with his Royal Badness himself, Prince, and played some dates on Prince's 21-night stint at the O2 Arena in London in 2007.

Maceo has also brought the funk on a number of solo projects, including Roots Revisited, Mo' Roots, and For All The King's Men. And the MTV crowd became aware of him when he was featured in Deee-Lite's cheerfully goofy and slighty wigged-out video for the infectious hit song "Groove Is In The Heart" in which his fellow P-Funk alum Bootsy Collins also appeared.

Maceo was born in Kinston, North Carolina in 1943 and hailed from a musical family. His father played drums and piano, and both parents sang in church. His brother Melvin played drums and his brother Kellis trombone. In 1964, Maceo and his brother Melvin joined James Brown's band.

Nikka Costa: Fiery Redhead Funkster

2010-04-14T00:23:00.000-07:00

Nikka Costa is one red-hot funky mama, my favorite female funk artist. If you cross Janis Joplin with Chaka Khan and throw in some Prince and '70s funk diva Betty Davis, you'll get Nikka Costa. She's a massively funky artist as well as a magnetic performer. She first came to national attention in the U.S. in 2000 with the irresistible funk/soul cut "Like A Feather," which was featured in a Tommy Hilfiger television advertising campaign, and the song's video received heavy rotation on popular music video channels. And she also got a lot of play with the Sly Stone-ish "Everybody Got Their Something," which was also featured in several advertising campaigns. The song peaked at #120 on Billboard's Top 200.

After I saw her "Like A Feather" video and some of her live performances, I was positive that she was set for big things in the U.S. Her performances are ballsy, sweat-soaked emotional blowouts much in the tradition Janis Joplin, but funkier. Her sound is a fusion of funk, blues, rock and soul, with a little dash of hip hop thrown in. Nikka didn't break big in the U.S. like I thought she would. I think she was just too raw and pure an artist to fit nicely into a safe marketable package for mass consumption, especially at a time when prepackaged pop artists like Britney Spears and *NSYNC were topping the charts.

Nikka has great musical lineage. Her father was acclaimed producer/musician/arranger Don Costa. While growing up, she met a slew of entertainment legends, including Sly Stone, Sammy Davis, Jr. and Quincy Jones. She was also Frank Sinatra's goddaughter. So music has pretty much always been a big part of Nikka's life, and she started singing and performing at a very young age. Her first gig was opening for Don Ho in Hawaii at the age of 5. Although she hasn't established a huge following in the U.S., she has enjoyed much success in other parts of the world. She has released albums throughout Europe, Israel, Australia and South and Central America, most of them achieving platinum status. And she has scored number-one hits in Italy, Germany and France. Also, in addition to singing, Nikka plays several instruments, including the drums, guitar and keyboards.

Nikka oozes funk and soul from every pore on her records and live performances. She possesses the pure, raw soul of funk and rock legends of the'60s and '70s. Nikka was born in the wrong era, as she has more in common with soul and rock artists from the past than she does with her musical peers.

(Nikka Costa photo courtesy Concord Music Group, Photo by Matthew Welch)

Michael Jackson's Bad: Out Of The Shadow Of Thriller

2010-04-02T22:32:00.000-07:00

Creating a follow-up to one of the most successful and critically acclaimed albums of all time must have been an extremely daunting task even for someone as talented as Michael Jackson. There would be the inevitable comparisons to Thriller, and even if it sold well, it would still be considered a disappointment if it didn't sell in astronomical numbers and receive widespread critical acclaim. MJ set the bar extremely high with Thriller, and to surpass it would take close to a miracle. I guess after the unprecedented success of Thriller, MJ did indeed believe in miracles, as he wanted its successor to move 100 million units and have critics laud it a magnum opus, grabbing a truckload of awards in the process. MJ was a pure and genuine artist, but numbers and awards still meant a lot to him. Thus, the pressure was on MJ to produce another masterpiece that sold like gangbusters.

Five years after the release of Thriller, MJ finally dropped Bad in late August of 1987. And while the album sold incredibly well, it didn't move near the numbers that MJ had hoped for. And on top of that, critics were not falling over themselves to praise it as they had Thriller. As expected, some have dubbed Bad a disappointment, both commercially and artistically. It's a testament to MJ's massive popularity that an album which garnered five number-one singles and sold in excess of 30 million copies worldwide could still be considered a commercial disappointment. While most critics agreed that it was a top-notch album, very few, if any, said it was on the same exceptional level as Thriller.

In my opinion, Bad is a very strong album, and I never get bored of it, even upon repeated listenings. It's probably my favorite MJ album. While the album lacks world-beating classic cuts like "Billie Jean," and "Beat It," it is just as enjoyable a listening experience as its predecessor. The key to really getting into this album is to put Thriller out of your mind and approach it as a stand-alone musical statement. Approach it fresh with no unrealistic expectations, and you'll definitely enjoy it more.

One of the things that I like most about Bad is that it is made up mostly of MJ's compositions. He wrote and composed nine of the album's 11 songs. By comparison, he wrote only four songs for Thriller. I've always thought MJ's songwriting skills were underrated. He's generally praised for his singing, dancing and overall gifts as a performer, but people often forget that some of the greatest songs in his catalogue were penned by him. For Bad, MJ once again tapped Quincy Jones to produce. Jones had produced both Off The Wall and Thriller--two amazing albums that effectively showcased MJ's talents. Thus, it wasn't surprising that he brought in Jones again in hopes of recapturing some of the magic of the previous two albums.

Anyway, let's get down to the songs themselves. The album kicks off on a funky note with "Bad." The song is sort of an homage to MJ's idol/mentor James Brown ("I got soul, and I'm super bad!"), as it has a grittier and funkier sound than most of MJ's songs up the that point. To be sure, the song is not nearly as funky as Brown's combustible grooves, but it's pretty funky for MJ, a nice and unexpected departure from the more smooth R&B/pop cuts off Thriller. The Jackson-penned song has a relentless and menacing bass line, and he sings the verses in a husky growl and spits out "Chamoan" with the raw soul of a chitlin' circuit blues shouter. Legendary jazz organist Jimmy Smith serves up a nasty solo, raising the song's funk quotient considerably. Smith's solo is seamlessly followed by an excellent synthesizer solo from keyboardist extraordinaire Greg Phillinganes, who was MJ's musical director on his Bad and Dangerous world tours.

"Bad" is followed by the lilting "The Way You Make Me Feel." The song, written and composed by MJ, is an infectious slice of pop/soul. It is another example of MJ's unfailing ear for great melodies. It's one of those songs that people love to sing along with. The next cut, "Speed Demon," is a good solid groove. The song starts with an engine revving up, and MJ sings the verses in the same gritty, husky voice that he used in "Bad." Also, as in "Bad," MJ shoots for a more funky sound with this song. And the lyrics are pretty interesting. Some critics have said the lyrics have a Freudian component, claiming the song is about MJ's superego putting his id in check: "Pull over boy, and get your ticket right." This song was written and composed by MJ.

"Liberian Girl" is the first mellow jam on the album. The song has a slight island flavor to it, and MJ sings the song with intense passion. The harmonies on the chorus sound amazingly warm. I don't know why this song didn't get more play. This song was also written and composed by MJ.

On "Just Good Friends" MJ duets with Stevie Wonder, and, unfortunately, it's a bit of a disappointment. With two great talents at the helm, I expected much more than this light pop/soul fare. It should be noted that neither MJ nor Stevie contributed to the writing of this song, and perhaps that's why it sounds so bland. The spark and magic are simply missing from this track. It's just such a huge missed opportunity.

Side two opens with "Another Part of Me," a good uptempo song that advocates global unity. The song was originally used for MJ's 3D-film Captain Eo, which was shown at Disney theme parks in the '80s and '90s. Next up is "Man in the Mirror," one of MJ's most well-known songs. Written by Siedah Garrett and Glen Ballard, the song's basic message is that before one can effectively bring about positive changes in the world around them, they must first look inside and better themselves. The song features some fiery, gospel-tinged singing by MJ who receives strong support from The Winans and the Andrae Crouch Choir.

MJ goes from church to passionate romance with "I Just Can't Stop Loving You," a duet with Siedah Garrett. This song was the first single off the Bad album, and, for the life of me, I don't understand why he would choose such a bland song to kick off the album. It just sounds like your standard, by-the-numbers adult contemporary love song, nothing exciting or inspired about it. MJ usually comes up with such great melodies, but this is not one of them. Also, the lyrics are pretty sappy, even for this type of song. Garrett has a decent voice, but brings nothing special to this track. This is the only song off Bad that I always skip.

MJ visits the decadent world of rock stars and groupies with "Dirty Diana" (MJ-penned). The song touches on some of the same themes as "Billie Jean." As in "Billie Jean," this song involves a predatory woman attempting to ensnare MJ in her web of sex, lies and deceit. The song evokes an atmosphere of dread and despair. It is anchored by a slow, foreboding bass line with MJ singing in a plaintive fashion. Rock guitarist Steve Stevens contributes a blistering solo to the cut.

"Smooth Criminal" is another singular MJ-penned song with a really creepy subject matter: a home-invasion murder. The song has a rapid, driving bass line, and MJ sings his lyrics with power and intensity. MJ again shows his gift for melody with this song, especially on the chorus. The multi-overdubs of his harmonies on the chorus are goose-bump-inducing. The song made it to number seven on the Billboard Hot 100 charts in the U.S. Only Michael Jackson could record a song about a woman being murdered in her home and have it make the top 10 on the pop charts.

The album closes with "Leave Me Alone," a keyboard-driven groove written by MJ. This marked the first time that he addressed in song what he felt was the media's unfair treatment of him. He would later record songs that were much more angry and confrontational towards the media, particularly on his HIStory album. This track has an excellent layered chorus arrangement and is one of his most underrated songs. It also has a terrific video, which has some great stop-motion and cutout animation. Directed by filmmaker/animator Jim Blashfield, the video won a Grammy for Best Short Form Music Video in 1990.

Bad is overall a stellar work, and people should view it on its own merits rather than compare it to Thriller. The only serious qualm I have with the album is the overuse of the synth bass on a lot of the songs. I know using the synth bass was popular at the time the album was released, but I wish they would have used a real electric bass guitar on more of the songs. The overuse of the synth bass makes the album sound a little dated. Other than that, Bad is a joy to listen to. Bad also marked the last time that MJ and Quincy Jones worked together on an album. I had always wished that they had worked on one more project together. Oh well.

Download Album at Amazon

Related blog entry: Glee Pays Tribute To Michael Jackson Tonight

Favorite TV Show Theme Songs

2010-02-24T21:56:00.000-08:00

As a someone who grew up on television and a lot of music, I paid close attention to the theme songs to TV shows. For me, a good theme song was very important, as it would capture my attention and pique my interest in the show. As an adult, I still pay attention to the music on television shows, and I'm more likely to watch a show I've never seen before if I like the intro music or song.

The theme song for "The Munsters"

This is my all-time favorite TV-show theme song. It's an infectious ghoulish groove with some surf guitar thrown into the mix to give it some rock flavor. And I really dig how the characters are introduced during the theme song: Granpa trying to bite Lily Munster's arm, Herman Munster clomping down the stairs, Eddie Munster getting annoyed at his Mom for fussing over him. Great stuff.

The theme song was written by Jack Marshall, who was a guitarist, conductor, composer, author and teacher. A veteran studio guitarist, Marshall played the guitar part himself, as he didn't trust anyone else to play it properly. He also scored the music for episodes of the show.

Additionally, Marshall composed music for other TV shows, such as "The Deputy," "The Debbie Reynolds Show," "Laredo" and "Have Gun, Will Travel." And Marshall also scored music for films. His film credits include Thunder Road, Tammy and the Millionaire, Kona Coast and Stay Away Joe. Marshall, who died at only 52 in 1973, lectured on guitar technique at the USC School of Music and wrote two books about guitar.

The Munsters

Ricky | MySpace Video

Theme song to "The Wire"

"Way Down in the Hole" is the bluesy, gospel intro song to "The Wire," and it puts the viewer right in the mood for this gritty and riveting crime drama. The song was written by singer/composer/actor Tom Waits, and the version by The Five Blind Boys of Alabama was used for the intro to the first season. Waits' original version was used for the second season intro. In all, there have been five different versions of the song used for the intro, a different one for each of the series' five seasons. It's a shame the show didn't have a longer run.

"The Wire" is without a doubt one of the best series that HBO has ever aired. It's a compelling and intelligent look at the drug trade on the rough streets of Baltimore. The series gives a fascinating view of the situation shown from three different perspectives: the dealers, the police and the politicians.

Here is the intro to the first season with The Five Blind Boys of Alabama's soul-stirring rendition of "Way Down in the Hole":

And here's Tom Wait's searing original version used for the second-season intro:

Theme Song for "Spider-Man"

As a kid I was a comic book fanatic. I was obsessed with them and constantly bugged my parents to buy them for me. I only collected Marvel comics, because I thought their comics had the best artwork as well as the most interesting characters and stories. I still have about 300 Marvel comics from way back in the day. Spider-Man was, and still is, one of my favorite marvel characters. His character was fairly complex for a superhero. He always seemed conflicted about his superhero status, and it was more of a burden for him than anything else. Plus, he never got the credit he deserved from the public for his efforts. He was treated like an outcast or pariah most of the time. Spider-Man was one of the early misunderstood superheroes, and that's what intrigued me so much about him. I must still have at least 35 Spidey comics stored away somewhere.

While the TV "Spider-Man" cartoon wasn't nearly as good as the comic book, I still watched it. What I liked most about the show was its theme song. I know it's kind of cheesy, but it still has a certain charm to it and is catchy as hell. It also has a great bridge. The song was written by Academy award-winning lyricist Paul Francis Webster and composer Bob Harris. The song has been covered by a number of musical artists, including The Ramones and Aerosmith.

The Ramones cover of the song:

"The Rockford Files" Theme Music

Even if it didn't have any association with the show, I still would have noticed the theme to "The Rockford Files" as being a great piece of music. The music sounds rugged like the protagonist Jim Rockford but also has an easygoing vibe that also fits Rockford's character. The harmonica part gives it a down-home feel. And the Moog synthesizer provides a nice balance to the harmonica, a creative fusion of old-school and new technology. Back when the show first aired in 1974, the use of a synthesizer on a television series theme song was a pretty new.

Producer/musician/composer Mike Post co-wrote the theme with longtime collaborator Pete Carpenter. Post is one of the most successful and prolific composers in television history and has written memorable melodies to numerous hit shows, including "Hill Street Blues," "L.A. Law" and "NYPD Blue." He has won five Grammys and an Emmy for scoring television theme music.

Carpenter was a jazz trombonist, arranger and veteran of television theme song scoring. He began his musical partnership with Post in 1968, which lasted until his death in 1987. The two scored more than 1800 hours of television music together and collaborated on hugely popular shows such as "Magnum, P.I.," "The A-Team" and "Hunter." The two won a Grammy for "The Rockford Files" theme in 1975. The duo also composed music for film, including Vanishing Point and Rabbit Test.

Rockford Files Season 1 intro

whytrytwice | MySpace Video

Pomplamoose

2010-02-01T19:11:00.000-08:00

During my visits to youtube, I've come across many talented musicians and singers showcasing their skills in hopes of reaching a wider audience, but none have stood out more to me than a musical duo known as Pomplamoose. Pomplamoose is made up of musician/songwriters Jack Conte and Nataly Dawn, who are also a couple. Jack is a multi-instrumentalist, songwriter and filmmaker who plays more than 15 instruments. Nataly is a singer, composer, bassist, pianist and guitarist. Their base sound is indie rock, but they jump around to a number of different styles.

The couple present interesting and quirky covers of popular songs as well as original compositions through a new medium called "VideoSong" that they upload on Youtube. Jack says at their website (http://www.pomplamoose.com/) that "VideoSong" can be defined by the following two rules: 1. "What you see is what you hear (no lip-syncing for instruments or voice)." 2. "If you hear it, at some point you see it (no hidden sounds)."

The duo infuse their VideoSongs with tons of humor and creativity, and I always end up smiling while watching them. Pomplamoose has played a few live shows and is unsigned, but I have little doubt that that will change soon. They are from Corte Madera, California.

Pomplamoose's cover Earth, Wind & Fire's "September":

An original by the duo called "Always in the Season":

Cover of Michael Jackson's "Beat It":

Review of Sly & The Family Stone's Stand!

2009-11-11T22:42:00.000-08:00

On their fourth studio album, Sly & The Family Stone took listeners on a sonic joyride. Stand! (released in 1969) is bursting at the seams with innovative ideas, stellar musicianship and great songs. The band had recorded first-rate material prior to Stand!, but that still didn’t prepare listeners for this mind-blowing aural experience. Rock, funk, gospel, pop, soul, blues and psychedelia intersect on this raucous and exhilarating album. And what Sly & the Family Stone have created is truly a revelation.

First off, you’ve got “Everyday People,” a pop-soul ditty that advocates tolerance and unity. The song’s construction is very simplistic. It starts with basic piano chords that are accompanied by a bouncy bass line and a steady mid-tempo beat. The intro is so poppy and simple that is sounds like it could be the opening for a song by a ‘60s bubblegum pop group like the Archies or the Lemon Pipers—that is until Sly’s soulful, heartfelt vocals kick in. The song has a nursery-rhyme feel to it but with strong gospel overtones; the high point of the song is its swelling, gospel-tinged chorus. “Everyday People” immediately hooked radio listeners and became one of the band’s biggest hits.

And on the opposite end of the album’s musical spectrum, there’s “Sex Machine,” a bluesy, funky shuffle of a groove. Clocking in at 13:46, “Sex Machine” allows the band members to cut loose and show off their chops. Larry Graham burns down the house with a scorching fuzz bass solo, and Sly tears it up with some trippy talk-box scatting on guitar. Also, his brother Freddie holds it down with a nasty Wah-wah guitar solo, and sax player Jerry Martini and drummer Greg Errico get their moments to shine.

The album also contains uplifting, inspirational songs, such as “Stand!” and “You Can Make It If You Try.” “Stand!” is a rousing black pride and counterculture anthem; it has some great horn lines from Martini and trumpeter Cynthia Robinson. “You Can Make It If You Try” has a fun, circusy vibe with Sly contributing a terrific calliope-like organ solo.

And let’s not forget “Sing A Simple Song,” a massive hydrogen-bomb funk assault. It begins with an effect that sounds like a vacuum cleaner being turned on and then jumps into the song proper with sister Rose belting out an impassioned soul cry to kick off the proceedings. The song percolates with highly syncopated funk that never lets up. And check out the amazing vocal layering on the bridge (the “doe rey me” section).

“I Want To Take You Higher,” is a ferocious rock track that rumbles with wild anarchic abandon. The song boasts some wicked horn play by Martini and Robinson and a killer harmonica solo served up by Sly. The band raised the roof with this cut at Woodstock.

And we go from “Higher,” to “Somebody’s Watching You,” a tune with a sweet and innocent-sounding vocal arrangement that belies the song’s slightly ominous lyrics. This song shows what an inventive and clever lyricist Sly was in his prime.

“Don’t Call Me Nigger, Whitey” is a freakafied, in-your-face attack on racism. Sly brings back the talk-box on this blistering funk/rock cut. Near the song’s end, it sounds like the band has grooved into orbit.

On Stand! Sly further demonstrated his mastery in the recording studio and his musical versatility. He wrote, composed, arranged and produced every song on the album and pulled out all the stops with studio tricks and other sonic experiments. This album proved without a doubt that Sly & The Family Stone were one of the baddest, most innovative bands of any era in rock or soul music.

Download Stand! at Amazon

Stevie Wonder: A Visionary Who Wrote A New Chapter In Music History

2009-10-21T12:48:00.000-07:00

Stevie Wonder performs at the White House (Photo by Pete Souza, official White House photographer)

The word genius gets thrown around willy-nilly these days. However, when it’s applied to Stevie Wonder, it’s not just hyperbole as one could make a strong argument to support the claim.

For starters, Stevie’s a consummate multi-instrumentalist, a master on piano, drums, synthesizer, harmonica, clavinet, melodica, celeste, congas and bongos. Moreover, he was a child prodigy and was signed to Motown at age 11. When he was 13, he had his first major hit with “Fingertips (Pt 2).” On the song, the wunderkind turned in an assured and passionate vocal performance that belied his years. He also pulled off an amazing harmonica solo on the song. Throughout his teens, Stevie continued to burn up the charts with hits like “Uptight (Everything’s Alright),” “I Was Made To Love Her,” and “My Cherie Amour.” In addition, the gifted young artist co-wrote many of his early hits with Motown as well as songs for other artists on the label, including the Spinners and Smokey Robinson .

When Stevie turned 21, he renegotiated his contract with Motown, which granted him complete creative control over his musical output. The new contract made him one of the first artists to write, produce, arrange and perform his own songs. It also provided Stevie the freedom to explore the far reaches of his imagination and put it on wax. This resulted in an incredible run of albums in the ‘70s, starting with Music of My Mind in 1972 through Songs In The Key of Life in 1976. This came to be known as Stevie’s classic period in which he released one brilliant album after another.

Not only is Stevie a sensational musician, but he’s also a fantastic songwriter who possesses a strong melodic sense combined with great technical ability. He’s written great songs in a variety of music styles over the years, including funk, pop, blues, reggae, jazz, gospel, folk, soul and even country-and-western. He can drop a nasty funk groove like “Maybe Your Baby,” then floor you with a beautiful ballad like “Knocks Me Off My Feet.” And he can make you smile with the infectious, Latin-flavored “Don’t You Worry ‘Bout A Thing” or almost bring to tears with the elegiac “They Won’t Go When I Go.”

People who are only familiar with Stevie’s post-‘70s work often don’t realize what an inventive and groundbreaking artist he was in his prime. For one thing, he pioneered the use of synthesizers in R&B music. In addition, Stevie added his own innovations to funk music. He blew listeners away with his unique brand of clavinet-driven funk on monster cuts like “Superstition” and “Higher Ground.” He was also one of the first R&B artists to release albums that were fluid, cohesive musical statements rather than just a random collection of songs. Moreover, Stevie is responsible for some of the most beautiful ballads ever written in popular music. Musical gems such as “I Believe (When I Fall in Love It Will Be Forever),” “Too Shy to Say,” and a slew of others prove that Stevie is without peer as a ballad writer.

And let’s not forget Stevie’s amazing voice, one his most effective and moving instruments. It’s supple yet gritty and unbelievably soulful. There have been numerous vocalists who have attempted to imitate Stevie’s vocal style and technique, but none have come close to capturing his nuance, passion and soul.

In addition to making great music, Stevie’s a very outspoken social activist who has never been afraid to infuse his political views into his songs. For instance, he lambasted the Nixon administration for its duplicity and indifference on the scathing “You Haven’t Done Nothin',” and he tackles racism and urban blight on the epic “Living For The City.” Some of his other political songs include “Big Brother,” “Cash In your Face” and “Heaven Help Us All." And Stevie puts his money where his mouth is outside the recording studio. Over the years, he’s been involved in a number of civil rights campaigns and other humanitarian and philanthropic endeavors. One of them was his spearheading of the campaign to make Martin Luther King Jr.’s birthday a national holiday, for which he wrote the song “Happy Birthday” to honor the late civil rights leader. Some of Stevie’s other noteworthy efforts include his work to help end apartheid in South Africa and his participation on “We Are The World,” a musical all-star benefit song released to raise money for famine relief in Africa.

Although Stevie has continued to make great music through the years, he has never quite equaled the brilliance of those albums he released in the ‘70s. But very few artists have been able to maintain such a high level of creativity and excellence. The ‘70s were the decade where Stevie’s genius shone the brightest, and that’ something we all can be thankful for.

Earth, Wind & Fire: Musical Messengers on a Mission

2009-09-24T21:49:00.000-07:00

Earth, Wind & Fire were a band to be reckoned with throughout the 1970s and early ‘80s. Led by Maurice White, former session drummer for Chess Records and player for The Ramsey Lewis Trio, EWF took the music world by storm with a slew of R&B and pop hits and dazzling concerts.

One of the things that set Earth, Wind & Fire apart from a lot of other popular R&B bands at the time was the cosmic, mystical air they had about them. They came across as musical sages with an important message to share with the world. Indeed, EWF were a band on a mission, and their quest was to spread positivity and inspire their listeners. They took on the role of spiritual cheerleaders for their audience, preaching self-reliance, self-awareness and self-improvement. EWF tried to instill in their listeners that they could achieve anything if they set their minds to it. And for some reason, all this felt genuine and not just a good marketing gimmick.

But in order to get people to listen to your message, you’ve got have something to grab their attention first, and EWF were more than up for the challenge. White assembled a group of the baddest players this side of P-Funk. The band included bass virtuoso Verdine White (Maurice’s brother) and singer/songwriter/percussionist Philip Bailey, who possesses a four-octave vocal range and a beautiful falsetto that would make Smokey Robinson envious. Rounding out the line-up were the super-tight Phenix Horns (Don Myrick saxophones, Louis "Lui Lui" Satterfield trombone, Rahmlee Michael Davis trumpet and Michael Harris trumpet); keyboard wizard Larry Dunn; talented axe men Al McKay, Roland Bautista and Johnny Graham; and dynamic drummers Ralph Johnson and Fred White (brother to Maurice and Verdine).

And then there’s Maurice White, founder and leader of EWF. As the band's guiding light, White wore many hats: songwriter, drummer, producer, arranger, timbales and kalimba player, and vocalist. And he handled all these duties with equal brilliance. In addition, White was a great showman who knew how to take control onstage and immediately connect with the audience.

EWF’s music moved listeners of all ages, races and nationalities. The band’s sound was as multicolored as their costumes--a rich stew of funk, jazz, Latin, rock, African, pop, gospel and soul. They could jump from roof-raising funk to catchy pop to intricate jazz to gorgeous ballads and do it all well. The band was on a winning streak in the ‘70s, dropping hit after hit, including “Mighty Mighty,” “Shining Star,” “Can't Hide Love,” “Reasons,” “Boogie Wonderland,” and “Fantasy.” And they were not just a great singles’ band but also had strong cohesive albums, such as That's the Way of the World, All ‘N All and Gratitude. Moreover, the band has sold more than 90 million albums worldwide and won six Grammys.

And their concerts were captivating displays of impeccable musicianship combined with great showmanship and elaborate stage sets—sort of like Miles Davis meets P.T. Barnum. They even hired magicians Doug Henning and David Copperfield to make their shows even more spectacular.

During the ‘70s and early ‘80s, EWF earned their spot as one greatest bands of all time, even having some critics dub them “The Black Beatles.” But EWF didn’t need to be compared to any band, because they were amazing and unique in their own right. No one will ever forget the mighty Earth, Wind & Fire as they left an indelible mark on popular music.

James Brown: Still Underrated After All These Years

2009-09-19T17:41:00.000-07:00

James Brown Photo by Soul Portrait

Although James Brown has received plenty of accolades for his stellar talent, I still feel that he is underrated. By many, he’s remembered as a tremendously gifted showman who released great records to dance to. However, that is just scratching the surface of what the late artist had accomplished in his 50-year career in the music industry. Much more than just a great entertainer, Brown was one of the most influential musical artists of the 20th century, just as important as Elvis in my view, if not more so.

In the mid-1960s, Brown reshaped the musical landscape with the creation of a raw, rhythm-heavy form of R&B that we’ve come to know as funk. This new music style was polyrhythmic and heavily syncopated and more earthy than most of the R&B that was heard on the airwaves at the time. In Brown’s grooves, the rhythm took precedence over melody and harmonies. These grooves were explosive; the guitars, bass, drums and horns ricocheted off one another to form the sonic equivalent of a combustion engine. In addition, Brown’s funk possessed a distinctive tribal edge and immediately connected with the urban youth of America and before long was embraced by people of all races and social standing across the country and even abroad.

Funk took center stage in the ‘70s with the emergence of popular funk bands such as Earth, Wind & Fire, The Ohio Players, Kool & The Gang and The Average White Band. These bands blazed through the path that Brown opened up for them the previous decade. In addition, talented songwriter/musicians Sly Stone and Stevie Wonder and innovative funk/rock collective Parliament/Funkadelic expanded on Brown’s blue print, adding their own unique touches to the genre. And in that decade, Brown remained at the top of his game, dropping countless funk classics, including “Get Up (I Feel Like Being a) Sex Machine,” “Funky Drummer,” “Super Bad ” and “The Payback.”

Moreover, Brown’s dynamic performance style also proved to be very influential. Legendary artists/performers like Michael Jackson, Prince and Mick Jagger owe a lot to The Godfather. When you watch their live performances, Brown’s influence is undeniable. Additionally, Brown’s grooves were the foundation for early rap records via samples. Hip Hop wouldn’t be what it is today if not for Brown’s funk. Also, he anticipated rap on early-‘70s records such as “Escape-ism” and “King Heroin” in which he spoke the lyrics instead of singing them. And let’s not forget “Say It Loud - I’m Black and I’m Proud,” one of the greatest black pride anthems of all time, where he rapped the main verses and only sang on the song’s famous chorus and the bridge.

Disco music was another popular genre in which Brown had been a major influence. In fact, most contemporary dance music can be traced back to Brown’s early funk grooves--house, techno, trance, trip hop, jungle/drum ‘n’ bass, breakbeat, etc. And Brown’s influence is not only restricted to R&B, hip hop and dance music but can also be heard in pop, rock and even alternative music. Alternative funk-metal bands such as Red Hot Chili Peppers, Primus and Faith No More couldn't have existed without Brown pioneering funk music decades earlier.

And if that weren’t enough to remove any doubts of Brown’s massive impact on popular music, let’s take a gander as his accomplishments on the charts. He had 99 singles make Billboard’s top 100. The only artist to have more was Elvis Presley. Additionally, he had a staggering 116 entries on the Billboard’s R&B singles charts, seventeen of which made it to number one. Only Stevie Wonder and Louis Jordan had more number ones on the R&B charts.

Also, his concerts were the stuff the legend. Brown (aka “The Hardest Working Man in Show Business”) electrified audiences all over the world with his powerhouse performances and set the bar unbelievable high for every performer who came after him.

As a way to measure Brown’s amazing legacy, try to imagine what popular music would be like without him… didn’t think you could.

Underrated Bass Players

2009-09-13T18:53:00.000-07:00

This is a list of some great players whose talents I think have been sorely overlooked:

Verdine White (Earth, Wind & Fire) - I know he's respected by his peers and music journalists, but his name rarely comes up on music forums when people make up lists of great bass players. Verdine is wizard on the instrument, and more people need to recognize his gifts.

Colin Moulding (XTC) - He always brought something interesting to his bass lines, great melodic sense combined with amazing technical precision.

Jermaine Jackson - I've heard some people don't even believe he ever actually played the bass on any of the Jackson 5 or Jacksons' songs or any of his solo work, but rather had a stand-in playing his bass parts. Nothing could be further from the truth. Jermaine is a consummate bass player who held down the bottom on the Jacksons' tunes as well as his solo work. I think many people were so mesmerized by his brother MJ that they often overlooked his considerable talents.

Carol Kaye - She played bass on several of the Beach Boys hits and was a Motown session player and added bottom to a number of Phil Spector productions. And that's not even scratching the surface of all of her accomplishments on the instrument. But for some reason, she never got the recognition that someone like James Jamerson received.

Cordell "Boogie" Mosson and Rodney "Skeet" Curtis - Both brought heavy doses of funk as bass players for the P-Funk army but were usually overshadowed by the more flamboyant Bootsy Collins.

Prince - Yeah, I said it. He's more recognized for his guitar-playing abilities, but if you really listen to some of his bass work, you'll realize he's a helluva player on the instrument.

Top Five Songs Michael Jackson Has Written

2009-09-13T18:25:00.000-07:00

Here is what I think are the top five songs MJ has written:

Billie Jean - This song is epic in every way. I say without hesitation that "Billie Jean" is one of the greatest pop songs ever written, from its pulsating bass/drum intro to MJ's anguished vocals to the haunting string and synth flourishes. MJ touched on similar themes of paranoia, betrayal and fear in other songs but never did he do it better than on "Billie Jean". MJ's best song.

Beat It - Rock, pop and R&B wrapped into one stellar package. "Beat It" boasts a monster riff that any rocker would be proud to call his or her own, and MJ bites into every verse with a sense of urgency and clenched anger. And the icing on the cake is Eddie Van Halen's face-melting solo.

Stranger In Moscow - MJ's voice aches with sadness on this beautiful and atmospheric meditation on loneliness and isolation. The song is brilliantly arranged with gorgeous harmonies and delicate synth lines--a criminally underrated gem.

Don't Stop 'Til You Get Enough - I like how the intro is just Mike speaking softly over a simple bass line and slight percussion, and then it explodes into this amazing whirlwind groove. From the soaring string parts to the percolating guitar and keyboard riffs to MJ's soul-stirring falsetto, this song is pure joy.

Wanna Be Startin' Somethin' - The perfect song to kick off Thriller. The propulsive bass line kicks like a mule, and MJ delivers his verses in rapid-fire succession. The song is a rhythmic masterpiece, full of brass jolts, infectious keyboard lines and hyper-kinetic guitar riffs. It reaches its climax on the African tribal chant; the multiple overdubs of MJ's voice in this section sound incredible.

Other great MJ-penned songs that just missed making the cut:

Smooth Criminal
Streetwalker
Bad
Working Day and Night
Dirty Diana
This Place Hotel
Leave Me Alone
The Way You Make Me Feel
Who Is It

Welcome to Funkatropolis

2009-09-13T17:55:00.000-07:00

What's up peeps. This is a blog designed for those who love to read and talk about music. I hope you like it.

To kick things off, here's the late, great singer/guitarist Glen Goins from Parliament/Funkadelic taking the audience to church singing "Mothership Connection."