D’Angelo, Visionary R&B Icon and Neo-Soul Pioneer, Dies at 51

Groundbreaking soul artist D’Angelo died on Tuesday, October 14, following a private battle with pancreatic cancer. He was 51. The four-time Grammy-winning artist was a pivotal figure in the neo-soul movement that emerged in the mid-1990s. He stunned the music world with the release of his landmark album Brown Sugar in 1995. The mesmerizing title track heated the airwaves and found its way onto many personal playlists, and the rest of the album is equally brilliant.

His next two albums, Voodoo (2000) and Black Messiah (2014), were instant classics, showcasing D’Angelo’s continued growth as an artist. His sound was a satisfying gumbo of gospel, R&B, soul, jazz, and hip-hop. He was a gifted singer-songwriter and producer, as well as a charismatic live performer. He was also an accomplished multi-instrumentalist, playing guitar, drums, bass, keyboards, and saxophone. And he owned one of the most soulful voices in contemporary music.

D’Angelo made a huge impact on music through his phenomenal talent and artistry, influencing legions of artists. Some of the prominent artists that he has had a major influence on include Frank Ocean, Childish Gambino, Miguel, The Weeknd, Janelle Monáe, Giveon, SZA, Anderson .Paak, H.E.R., and Daniel Caesar.

D’Angelo was born Michael Eugene Archer in Richmond, Virginia, on February 11, 1974. His father was a Pentecostal preacher. Growing up in the church, D’Angelo developed a love for music at an early age. He began playing the piano at the age of three, picked up the organ at four, and by the time he was five, he was playing piano alongside his father during church services. Some of D’Angelo’s key musical influences were Prince, James Brown, Stevie Wonder, Miles Davis, Sly Stone, Curtis Mayfield, Marvin Gaye, the Pilgrim Jubilees, Earth, Wind & Fire, and Robert Blair (leader of the gospel group Fantastic Violinaires).

D’Angelo formed his first band, Michael Archer and Precise, at age 16. The band had three consecutive wins at Amateur Night competitions at the Apollo Theater in New York. Encouraged by this, D’Angelo dropped out of high school at 18 to launch a music career in New York. He landed a recording contract with EMI Records in 1993, following a three-hour piano recital for record executives. 

He released his debut album, Brown Sugar, on July 3, 1995. The collection was showered with praise by critics and music lovers, and he was heralded as an important new voice in R&B and soul music. And he followed up the great promise of his debut album with the incredible masterworks Voodoo and Black Messiah, leaving no doubt that he was one of the most talented and innovative artists of his generation.

D’Angelo’s amazing music legacy will continue to live on through his superb recordings and videos of his soul-stirring performances. It will also live on through the many artists he has influenced and inspired. His music touched listeners in a very intimate, personal way that few artists can. He was truly a one-of-a-kind artist.

"Brown Sugar" video

Sugah Daddy - D'Angelo and The Vanguard

D'Angelo's live performance of Smokey Robinson's "Crusin'" and Curtis Mayfield's "Give Me Your Love"

"The Line"

“ConFunkShunizeYa” by Con Funk Shun

In 1977, R&B/funk band Con Funk Shun put themselves on the map in epic fashion with their album, Secrets. The Gold-certified collection features their breakout hit “Ffun,” among many other strong tracks. Another album highlight is the high-powered “ConFunkShunizeYa,” in which the band delivers its thrilling brand of horn-driven funk. Cedric Martin anchors the groove with a sick bass line, bolstered by Louis A. McCall Sr.’s thunderous beat. The track boasts an electrifying horn arrangement played with fiery fury by Con Funk Shun’s supertight horn section.

“ConFunkShunizeYa” was written by Con Funk Shun’s lead singer and guitarist, Michael Cooper. The song had a respectable showing on the charts, peaking at #31 on Billboard’s R&B singles chart. It has been sampled on three songs, including Will Smith’s 1997 track “Ya’ll Know.” 

Con Funk Shun was formed in Vallejo, California, in 1969 by high school classmates Michael Cooper and drummer Louis A. McCall Sr. They were influenced by funk pioneers such as James Brown and Sly & the Family Stone. At the time, the band was called Project Soul. By 1971, bassist Cedric Martin, trumpeter Karl Fuller, keyboardist Danny “Sweet Man” Thomas, and woodwinds player Paul “Maceo” Harrell had joined the band. That same year, Project Soul changed its name to “Con-Funk-Shun,” which was inspired by the title of an instrumental by soul/funk/jazz ensemble the Nite-Liters, led by Harvey Fuqua. (They later dropped the hyphens from the name to Confunkshun in 1974 and in ‘75 stylized it to Con Funk Shun for marketing purposes.) Multi-instrumentalist/vocalist Felton Pilate joined Con-Funk-Shun in late 1971 following the dissolution of his band. The septet quickly earned a reputation as a fantastic backing band in the West Coast funk scene. 

The talented groove outfit relocated to Memphis, Tennessee, in 1973, where they were hired as the backing band for Stax Records' vocal group the Soul Children. The band also worked with various Stax staff writers during this period. They were soon recruited as the backing band for Memphis soul legend Rufus Thomas at the historic 1972 Wattstax benefit concert. (The concert footage was made into a 1973 documentary titled Wattstax, which was nominated for a Golden Globe.)

The band eventually caught the attention of record executive and Stax Records co-founder Estelle Axton, who signed them to her independent label Fretone Records in 1973. They recorded their debut album, Organized Con Funk Shun, that same year, but the collection wasn’t released until 1978 on Pickwick Records. Produced by Ted Sturges, the seven-song album offers a cool mix of aggressive funk, smooth ballads, and extended jazz-soul jams. In 1973, the band recorded a collection of tracks during their Memphis sessions, which was eventually released in 1980 under the album title The Memphis Sessions (on the label 51 West Records & Tapes). 

Con Funk Shun released two singles with Fretone. In May of 1974, they released the exquisite soul ballad “Now and Forever” (Pilate/Cooper-penned) backed by the sizzling funk instrumental “Clique,” written by Harrell and Cooper. In October of that year, Fretone issued Con Funk Shun’s second single, a cover of the '60s folk rock classic “Mr. Tambourine Man,” and the B-side was “Bumpsumbody” a band-credited original.

In 1976, Con Funk Shun signed with Mercury Records, where they remained for 10 years and released 11 albums during that time. The band enjoyed a hugely successful run with Mercury, landing four gold albums and a string of top ten hits on Billboard’s R&B singles chart. The band broke up in 1986 due to ongoing internal disputes over songwriting credits and royalty payments. They reunited in the ‘90s and began performing at festivals and concerts worldwide.

Con Funk Shun’s legacy is that of an exciting, highly talented band that excelled in both the studio and onstage, leaving behind a wealth of great music and incredible live performances. And their music has been sampled on 186 songs, per Whosampled.com. On September 21, 2014, Con Funk Shun was honored by the National R&B Lifetime Achievement Award at a black-tie dinner and award ceremony in Atlantic City, New Jersey. The band still tours regularly with three of the original members, Felton Pilate, Michael Cooper, and Karl Fuller, in the lineup.

Con Funk Shun performing "ConFunkShinizeYa" on Soul Train in 1978 

Secrets is available at Amazon

“Party Up In Here" by The Brides of Funkenstein

Photo by Richard E. Aaron 

In 1978, the Brides of Funkenstein generated much buzz and excitement across the funk community with their superb debut album, Funk or Walk. The Gold-certified collection showcased the formidable talents of the dynamic funk duo Lynn Mabry and Dawn Silva. They were also captivating live performers, effortlessly commanding the stage with their strong vocal abilities and charisma. But by the time the Brides released their sophomore album, Never Buy Texas From A Cowboy (1979), they had undergone significant personnel changes. Mabry left the Brides in 1979 due to ongoing financial disagreements and becoming pregnant with the child of her then-boyfriend and P-Funk musical director and keyboardist Walter “Junie” Morrison. As a result, the Brides re-formed as a trio, which consisted of Dawn Silva and former P-Funk backup singers the Bridesmaids, Sheila Horne (now known as Amuka Kelly) and Jeanette McGruder (now known as Satori Shakoor).

The newly formed trio brings the fire on Never Buy Texas From A Cowboy, an impressive collection filled with several bangers. One of the album’s standout tracks is “Party Up In Here.” Rodney “Skeet” Curtis's fantastic bass line is the funky foundation for this massive groove. The track boasts a cold horn arrangement and an explosive beat. The Brides infuse their powerful vocals with tons of soul, attitude, and funk. The three ladies display great chemistry here. The track also features a terrific bridge that showcases the Brides’ considerable vocal chops. “Party Up In Here” was written by Rodney Curtis and George Clinton, who also produced it. Funkadelic sampled "Party Up In Here" for their 2014 track "Catchin' Boogie Fever."

Never Buy Texas From A Cowboy was released on Atlantic Records in November 1979. The album was a modest commercial success, peaking at #49 on Billboard’s R&B album chart and #93 on the Billboard 200. And the title track rose to #67 on Billboard’s R&B singles chart. The collection was well-received critically, garnering high praise from funk enthusiasts and numerous music critics. It won the Brides the Cashbox Rhythm & Blues Award for Best Female Group in 1981, beating out music heavyweights such as Sister Sledge, Cheryl Lynn, and the Pointer Sisters. The song designated for the award was the single “Didn’t Mean To Fall In Love,” written and produced by Ron Dunbar.

Additionally, Rolling Stone magazine ranked Never Buy Texas From A Cowboy at number 26 on its list of the “50 Coolest Albums of All Time” in 2001. And the collection ranked at number 17 on Rolling Stone's “25 Best Parliament-Funkadelic Albums” list, which was published early this year. Additionally, the album’s title track was a hit in Europe, Asia, and the Midwest.

The Brides recorded a third album in 1980, titled Shadows On The Wall, Shaped Like The Hat You Wore, but it was never released. However, many of the tracks recorded during the sessions for the album were later reworked and have resurfaced elsewhere in the P-Funk catalog.

"Party Up In Here" is available at Amazon

"Streetwalker" by Michael Jackson

“Streetwalker” was first recorded in 1986 as a potential track for Michael Jackson’s 1987 Bad album. Michael and producer Quincy Jones were in the process of choosing the last song to include on the highly anticipated follow-up to Thriller. It was between “Streetwalker” and “Another Part of Me.” Michael was pushing for “Streetwalker,” and Quincy wanted “Another Part of Me.” In an interview featured in Bad: Special Edition (2001), Quincy discussed what swayed Michael to go with "Another Part of Me”: 

He [Michael] wrote both of them, so it didn’t really make any difference to him…we were going to listen to them, the three of us, objectively and decide which one was gonna get picked. And so [Michael’s manager Frank] DiLeo was sitting down when ‘Streetwalker’ was on, and when ‘Another Part of Me’ came on, he got up with his fat ass, you know, and started [dancing]. I said, ‘You’re not helping Michael at all!’ It was so funny–Michael had a funny name for him, like, ‘Rubber…what are you doin’ man? You just blew my whole case here! So DiLeo helped me get ‘Another Part of Me’ cause he started shaking his butt on it.

“Streetwalker” resurfaced many years later. Grammy-winning songwriter/producer Bill Bottrell reworked the song. This revised version was included as a bonus track on Bad: Special Edition (2001) and Bad 25 (2012), a 25th anniversary edition reissue of the classic multiplatinum album.

“Streetwalker” is an infectious blend of funk, pop, and R&B. The upbeat, high-energy track features a funky bass line, groovy horns, sweet guitar licks, and a brilliant chorus. Michael is in top form here, delivering a vibrant and soulful vocal performance. Producer, composer, and musician Jasun Martz adds the finishing touch with a smashing harmonica solo.

The song describes a fictional infatuation that the narrator has with a prostitute and how she loves him and leaves him because that’s part of her job. He's confounded at her ability to separate sexual engagement from emotional attachment. He wants to rescue her from this life, make her his own, and take her to interesting and exciting places that she’s never been. “I’d like to take you places, how about New York City?/Or Paris, France? What do you think of that?”

Here’s a bit of related trivia about the song. Bill Bottrell used the “Streetwalker” bass line for an early version of the song “Dangerous,” the title track of Michael’s eighth studio album, released in 1991. Bottrell was one of the album’s producers. He and Michael co-wrote and produced the album’s chart-topping global smash “Black or White,” and they also collaborated on “Give In To Me.” Bottrell, Teddy Riley, and Michael collectively wrote and produced “Dangerous.” The early 1990 demo of “Dangerous” with the “Streetwalker” bass line is included on the 2004 box set The Ultimate Collection.

“Streetwalker” was mentioned during the Cartier v. Jackson (1994) case, in which Denver singer-songwriter Crystal Cartier sued Michael for allegedly plagiarizing her song "Dangerous” for the title track of his Dangerous album. Here’s an excerpt of Michael’s testimony:

Yes, I wrote a song for the Bad album called “Streetwalker,” and it had a driving bass melody, strong bass lick. That bass lick was taken by my engineer, Billy Bottrell, cause I was kinda frustrated with this song in general, so he took the bass and put new chords to the bass melody, which is what inspired the song “Dangerous.”

Michael won the case as the federal jury determined that he did not plagiarize Cartier’s song.

Additionally, “Streetwalker” was featured in the music video game Michael Jackson: The Experience (November 2010). It was released for the Nintendo Wii, Nintendo DS, PlayStation 3, Xbox 360, and PlayStation Portable. Also, “Streetwalker” and “Shout” were released as the B-sides of “Cry,” a single from Michael’s 2001 album Invincible. “Shout” almost made it onto the album but was replaced with “You Are My Life” at the last minute. “Cry” was only released in Europe. 

Here's an early demo of "Streetwalker" recorded in 1986.

"Streetwalker" is available at Amazon

Related blog entries:

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

"Cheater" by Michael Jackson

Album Review of The Big Ol’ Nasty Getdown’s Volume 3

Genre-bending collective the Big Ol’ Nasty Getdown recently released their third album, Volume 3. The album is the culmination of over 100 hours of recordings spanning several years. It offers a satisfying stew of funk, soul, jazz, and rock. Producer and Getdown founder John Heintz assembled a group of exceptionally talented musicians for this fantastic collection, featuring contributions from members of acclaimed outfits such as Parliament-Funkadelic, Red Hot Chili Peppers, Fishbone, Earth, Wind & Fire, Jane’s Addiction, Pearl Jam, Jurassic 5, New Power Generation, among many others. 

The album kicks off with the lush R&B groove "Yoda Mode." Singer Maiya Sykes delivers a rich, soulful vocal performance on this marvelous track. It features a sensational horn arrangement and some sweet bass from Hadrien Feraud (Chick Corea). Grammy-winning trumpeter/composer/arranger Philip Lassiter (Prince) delivers a superb trumpet solo, followed by some simmering organ from Ruslan Sirota (Stanley Clarke Band). The other players on the track are drummer Chad Smith (Red Hot Chili Peppers), guitarist Erick Walls (Beyoncé), and percussionist Jason Hann (The String Cheese Incident).

The album’s second track, “When The Juice Ran Out,” features a ferocious rock-tinged funk groove. The song envisions what the world would be like if the internet suddenly shut down and how we would cope with that reality. The players on this track are bassist Rodney “Skeet” Curtis (P-Funk), drummer Jack Irons (Red Hot Chili Peppers), guitarist Tim Stewart (Lady Gaga), and Fishbone frontman Angelo Moore, who brings power and urgency to his lead vocals and also contributes some killer sax. Curtis brings his usual groove finesse to his excellent bass work, and Irons keeps the funk level high with his powerful drumming. Stewart further enhances the groove with his fiery guitar work.

Maiya Sykes serves up some sizzlin' sultry soul on “Ain’t Nowhere To Go.” This cut is masterfully arranged and performed. It features an exquisite guitar solo by Tim Stewart, and Norwood Fisher (Fishbone) anchors the groove with an awesome bass line. The track also boasts a captivating chorus. The other players on the track are keyboard wizard Larry Dunn (Earth, Wind & Fire) on Rhodes piano, guitarist Bobby Easton (Delta Nove), percussionist Leon Mobley (Innocent Criminals), musician/producer Frank Mapstone on Hammond B3, guitarist Gemi Taylor (Mandrill), and drummer Stephen Perkins (Jane's Addiction).

Norwood Fisher sets off the high-voltage funk fusion jam “Birds of a Feather” with some vicious bass poppin’. The acclaimed bassist's skills are on full display on this amazing instrumental. This track boasts a terrific arrangement and sterling musicianship from all the players. And Tim Stewart lets loose with a magnificent guitar solo. “Birds of a Feather” also features a stunning horn arrangement, and Lee Allen (Yo Mama’s Big Fat Booty Band) tears it up on drums. The other players on the track are guitarist Stefan Kallander (The Queen’s Guard), keyboardist Mary Francis (Yo Mama’s Big Fat Booty Band), saxophonist Greg Hollowell (Asheville Horns), trumpeter Alex Bradley (Empire Strikes Brass), and trombonist Derrick Johnson (Yo Mama’s Big Fat Booty Band).

“Super Galactic” is a cosmic slice of outré funk. This track has a unique, complex arrangement that’s skillfully performed by the talented players. Erick Walls lights up the groove with a dazzling guitar solo, and Grammy-winning multipercussionist/vocalist Justin Poree (Ozomatli) delivers a strong rap. Hadrien Feraud lays down a cold bass line, bolstered by some inspired drumming from Terence Higgins (Ani DiFranco). The rest of the track’s personnel are Sammie "Big Sam" Williams (Big Sam’s Funky Nation) on trombone, Ulises Bella (Ozomatli) on sax, keyboardist Todd Stoops (RAQ), trumpeter Andrew Baham, and percussionist Jason Hann (The String Cheese Incident).

The Getdown turns the funk up all the way up to 10 on the badass instrumental “Crispy Chicken.” This furiously funky track features an incredible horn arrangement and a scorching beat from Stephen Perkins (Jane’s Addiction). Norwood Fisher powers the groove with a filthy bass line, and renowned New Orleans trombonist Sammie "Big Sam" Williams serves up a thrilling 'bone solo. The rest of the track’s personnel are Bobby Easton (guitar), Larry Dunn (Rhodes piano), Frank Mapstone (Hammond B3), and Gemi Taylor (guitar).

“Joy Rider” is an explosive high-adrenaline blast of funk-rock. The Getdown goes full bore on this exciting instrumental. The track is performed with pure power and funky precision. Jack Irons keeps the groove blazing with his dynamic drumming, Tim Stewart unleashes some blistering fretboard fireworks, and Keith Anderson (Prince/Marcus Miller) drops three megatons of funk with a brilliant sax solo. This hot groove also boasts a spectacular horn arrangement and some smokin’ organ from Peter “Keys” Pisarczyk (Lynyrd Skynyrd/P-Funk). And Josh Paul (Daughtry/Suicidal Tendencies) kills it on bass. Trumpet man Philip Lassiter is also in the mix.

Rev. Desmond D’Angelo of the Soular System delivers a spirited vocal performance on “Feelin’ It,” a quirky, kinetic funk groove. The track has sort of a P-Funk meets OutKast vibe goin' on. It features a cool bass line from John Heintz, and Jack Irons lays down a wicked beat. The rest of the personnel on the track are guitarist John-Paul Miller (Yo Mama’s Big Fat Booty Band), Jack Irons (drums), Frank Mapstone (Rhodes piano), and Bobby Easton (guitar).

The album closes out with instrumental versions of “Yoda Mode,” “When The Juice Ran Out,” “Ain’t Nowhere To Go,” “Feelin’ It,” and “Super Galactic.”

Volume 3 is a strong collection that showcases the considerable talents of all the musicians involved in this amazing project, as well as Heintz's impressive production abilities. 

"Crispy Chicken" 

"Ain't Nowhere To Go"

"Joy Rider"

Volume 3 is available at Amazon.

Related blog entries:

Album Review of The Big Ol' Nasty Getdown's Volume 2

The Big Ol' Nasty Getdown Pays Tribute To Funk Music

"When The Juice Ran Out" by The Big Ol' Nasty Getdown, Featuring Angelo Moore

“You Got The Love” by Rufus Featuring Chaka Khan

In 1974, Chicago funk band Rufus captured the imagination of music lovers with their breakout hit “Tell Me Something Good” and became one of R&B's hottest new acts. They continued their hot streak with the scorching funk-rocker “You Got The Love,” the second single from their gold-certified sophomore album Rags To Rufus. The track features a ferocious groove with blistering guitars, nasty bass, and a thunderous beat. Chaka Khan delivers a fiery, soul-stirring vocal performance, displaying her phenomenal talent and powerful pipes.

In the song’s lyrics, Chaka expresses how vital her significant other’s love is to her being, providing her with the strength and motivation to weather life's many hardships and struggles. 

Chaka cowrote “You Got The Love” with singer/songwriter/guitarist/producer Ray Parker Jr. In a 2023 interview, she discussed the genesis of the song. She said that Parker wanted her to listen to an instrumental track that he had been working on. He played it for her and asked if she could come up with some lyrics. Chaka immediately fell in love with the super-funky guitar riff. “When I heard that, I could hear the words already,” she said. She added, “Ray’s a wonderful guy, and I gotta thank him for that, he came with the goods.” The song was released on October 19, 1974. It topped Billboard’s R&B singles chart and peaked at #11 on the Billboard Hot 100. And it reached #21 on the Canadian charts.

“You Got The Love” has been sampled on 21 songs, including Lenny Kravitz’s “It’s Your Life” and Tone Lōc’s “On Fire” (Remix). It was featured in an episode of the popular TV series Scandal (Season 5, Episode 1, 2015) and in an episode of the miniseries Fight Night: The Million Dollar Heist (Season 1, Episode 8, 2024).

The full personnel on Rags To Rufus were Chaka Khan (lead and background vocals), Dennis Belfield (bass, background vocals), André Fischer (drums, percussion, background vocals), Al Ciner (electric and acoustic guitars, background vocals), Ron Stockert (keyboards, lead and background vocals) and Kevin Murphy (organ, clavinet, background vocals). The album was produced by Bob Monaco and Rufus. It was released on ABC Records. 

“You Got The Love” is one of Rufus’ signature songs, and Chaka still regularly performs it at her shows.

Chaka and Rufus burn up the stage with a dynamic performance of "You Got The Love" on The Midnight Special in 1974.

"You Got The Love" available at Amazon

Related blog entry:

"Free" by Graham Central Station, Featuring Prince and Chaka Khan

“777-9311" by The Time

Legendary Minneapolis band the Time set off their 1982 sophomore album, What Time Is It?, with the massively funky single “777-9311.” The track boasts a distinctly unique sound, featuring a jittery drum machine beat, tight rhythm guitar riffs, and electrifying synth blasts. Prince anchors this explosive synth-funk groove with a sick bass line and also delivers a scorching guitar solo on his Hondo Stratocaster. And Morris Day brings his patented cocksure charisma to the lead vocals.

Prince composed, produced, and arranged the song, with Day later adding lyrics. The Purple One also played all the instruments. In a Facebook post, former Time guitarist Jesse Johnson wrote that the beat used in the song was a stock drumbeat in Prince’s Linn LM-1 drum machine. He added that the beat was programmed by famed Tower of Power drummer David Garibaldi. It’s noted for its intricately programmed hi-hat pattern and offbeat snare, utilizing an on-beat clap during the choruses and the outro. In the same Facebook post, Johnson disclosed that the phone number used in the song was Revolution guitarist Dez Dickerson’s home phone number. After the song became a hit, he was inundated with unwanted calls and had to change his number. “He was very pissed at us all,” wrote Johnson.

“777-9311” was released on July 30, 1982, four weeks before the album’s release. It peaked at #2 on Billboard’s R&B singles chart and #88 on the Billboard Hot 100. And it climbed to #42 on Billboard’s Dance Club Songs chart.

The track has been sampled on eight songs, including “What'z Ya Phone #” by 2Pac, featuring Danny Boy, and “I’m Lovin’ It” by Justin Timberlake. Rapper Sir Mix-a-Lot references “777-9311” on his 1989 single “Beepers.” Hip-hop star Common referenced it on his 1992 track “Puppy Chow, and rapper Kutt Calhoun makes a reference to it on his 2008 song “School Daze.”

The Time personnel for What Time Is It? were Jellybean Johnson (drums, percussion), Jimmy Jam (keyboards, vocals), Terry Lewis (bass, vocals), Jesse Johnson (guitar, vocals), Morris Day (lead and backing vocals), and Monte Moir (keyboards, vocals). “777-9311” is one of the Time’s signature songs, and it's usually included on the setlist at their concerts.

The Time performing “777-9311” at Roy Wilkins Auditorium in St. Paul, MN in 1987

"777-9311" is available at Amazon

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"Crazay" by Jesse Johnson, Featuring Sly Stone