“I Get High on You” by Sly Stone

By 1975, Sly & The Family Stone had effectively dissolved as a cohesive unit due to Sly Stone’s heavy substance abuse problems and extreme paranoia, as well as interpersonal conflicts and outside political pressures. Their incredible zenith of the late '60s and early ‘70s, when they were critical darlings with a massive following of both rock and R&B fans, felt like a distant memory. Many of the founding members had defected by that point, and the band's fanbase had diminished considerably, with record sales steadily declining. 

However, that didn’t mean Sly had lost his groove mojo. His first and only solo album, High on You (released in 1975 on Epic Records), showed that he was still very capable of creating high-quality music when he locked in and blocked out the outside noise. The collection features underappreciated gems like the tremendously funky “I Get High on You.” Bobby Vega raises the funk level through the roof with a sick bass line. Twelve-year-old prodigy and Sly's first cousin Little Moses brings some church into the mix with his sanctified organ work. Sly expresses how good his lady makes him feel physically and emotionally, giving him a natural high. He's in top form here, delivering a strong, soulful vocal performance, complemented by the powerful backing vocals from Little Sister. Sly also played guitar and keyboards. The track features some funky horn charts played by Sly & The Family Stone founding members Jerry Martini (saxophone) and Cynthia Robinson (trumpet), joined by saxophonist Dennis Marcellino. 

“I Get High On You” was written, arranged, and produced by Sly. It was a big hit on Billboard’s R&B singles chart, peaking at #3, and it rose to #52 on the Billboard Hot 100. It was the lead single from his solo debut album High on You. Its B-side is the exquisite “That’s Lovin’ You,” which features a gorgeous string arrangement.

“I Get High on You” was sampled on two Fatboy Slim songs, “Always Read The Label” (1998) and “Don’t Forget Your Teeth” (1999). Rose Banks, aka Rose Stone (Sly’s sister and founding member of Sly & The Family Stone), recorded a cover of the song for her solo debut album Rose released in 1976 on Motown Records.

Here’s the full lineup for “I Get High On You”: Bobby Vega (bass), Sly Stone (vocals, keyboards, and guitar), Jim Straussburg (drums), Freddie Stone (guitar, background vocals), Cynthia Robinson (trumpet), Little Moses (organ), Jerry Martini (saxophone), and background vocals–Little Sister, consisting of Vaetta Stewart (Sly’s youngest sister), Rudy Love, Dawn Silva, and Tiny Melton.

High On You peaked at #11 on Billboard’s R&B album chart and #45 on the Billboard 200. It reached #98 on the Canadian RPM Album charts. 

In the subsequent years following the release of High on You, Sly wrote, arranged, and produced three more Sly & The Family Stone albums: Heard Ya Missed Me, Well I'm Back (1976), Back on the Right Track (1979), and Ain’t But The One Way. These albums were met with mainly mixed reviews and had modest performances on the R&B charts, except for Ain’t But The One Way, which failed to chart at all. However, each collection had a few truly inspired moments that reminded listeners of the band’s glory days when Sly’s genius shone the brightest, and Sly & The Family Stone were lauded as one of popular music's most talented and electrifying acts.

"I Get High on You" is available on Amazon

“Let It Whip” by The Dazz Band

In 1982, the Dazz Band’s explosive party jam “Let It Whip” hit the airwaves like a thermonuclear blast, destroying all lesser dance tracks in its wake. A monstrously funky bass line powers this high-voltage electro-funk groove. The track features a scorching beat, powerful synth blasts, and tight guitar riffs. It also boasts an awesome bridge and a dynamic lead vocal performance from Skip Martin, bolstered by the soulful background vocals. The song is skillfully arranged and performed, bringing tons of excitement, high energy, and big funk. Back in the day, this track blasted out of boomboxes and car stereos everywhere and packed countless dance floors. 

“Let It Whip” is recognized for effectively capturing the early-1980s transition from organic live instrumentation to electronic programmed sounds. A Minimoog synth bass line growls alongside an electric bass guitar, and the beat is a combo of real drums and a percolating programmed drum machine rhythm (using a Roland TR-808 and LinnDrum). This track strikes the perfect balance between live organic instrumentation and new-tech electronic-based sounds of that era. 

"Let It Whip" was co-written by acclaimed drummer Leon "Ndugu" Chancler and Reggie Andrews, the track’s producer. Chancler discussed the song’s inspiration in an interview featured in The Billboard Book of Number One Rhythm & Blues Hits, a 1993 music reference book by Adam White and Fred Bronson: 

We wanted to create a song that they could make a dance out of, a song that was different in that it would be something that no one had ever really talked about on a record. What kind of lyric content could we talk about that could end up being a dance? And Reggie came up with the idea of a whip.

The song was released February 12, 1982, on Motown Records. It was a single from the Dazz Band’s third studio album, Keep It Live. It topped Billboard’s R&B singles chart, peaked at #5 on the Billboard Hot 100, and climbed to #2 on Billboard’s dance club charts. It also charted in Canada (#42) and Australia (#97). The crossover dance smash earned the band a Grammy for Best R&B Performance by a Duo or Group with Vocal at the 25th Annual Grammy Awards in 1983. Rolling Stone magazine ranked “Let It Whip” at #82 on its 100 Best Songs of 1982 list.

“Let It Whip” has been sampled on 62 songs and featured on many film soundtracks, including Air (2023), M3GAN (2022), The First Purge (2018), Almost Christmas (2016), Pitch Perfect (2012), The New Guy (2002), Next Friday (2000), and Grosse Pointe Blank (1997). Some of the notable TV series it has been featured on include The Bear (season 3, episode 6, 2024), Scandal (season 4, episode 16, 2015), and Cold Case (season 7, episode 13, 2010).

Many artists and bands have covered “Let It Whip,” including Boyz II Men. The four-time Grammy-winning vocal harmony group’s soulful cover appeared on their seventh studio album, Throwback, Vol. 1 (2004). American rock and pop-punk band SR-71 recorded a terrific cover of “Let It Whip” for the soundtrack of the 2002 teen comedy The New Guy. It appears in a high-energy, dance-filled montage sequence featuring some particularly smooth moves from comedian and actor Eddie Griffin.

The full personnel for “Let It Whip” was Sennie "Skip" Martin III (lead vocals), Michael Wiley (bass, background vocals), Isaac Wiley Jr. (drums, background vocals), Steve Cox (keyboards, synthesizer programming), Eric Fearman (guitar), Bobby Harris (background vocals), Paulinho Da Costa (percussion), Michael Boddicker (synthesizer programming), Pierre DeMudd (background vocals), Reggie Andrews (keyboards), and Kenny Pettus (background vocals, percussion). 

The Dazz Band emerged from Cleveland, Ohio’s jazz-fusion scene in the 1970s. Saxophonist and vocalist Bobby Harris founded the Dazz Band in Cleveland in 1976. The band’s original lineup was Harris, Kenny Pettus (lead vocalist, percussion), Isaac "Ike" Wiley Jr. (drums), his brother Michael Wiley (bass), and Michael Calhoun (songwriter/guitarist). The quintet was originally named Kinsman Dazz. They renamed themselves the Dazz Band after signing with Motown Records in 1980 and expanded to nine members. Dazz is short for “danceable jazz.” In addition to “Let It Whip,” some of their other big hits include “Joystick,” “Let It All Blow,” Swoop (I’m Yours),” and “On the One for Fun.”

“Let It Whip” was the Dazz Band’s biggest hit and an iconic club banger of the early ‘80s. And it still gets a lot of play today. The band still tours with founder Bobby Harris and longtime member Skip Martin at the helm.

Dazz Band performing "Let It Whip" on American Bandstand in 1982

Dazz Band performs a gritty non-lip-synced live performance of "Let It Whip" in 1982

"Let It Whip" is available on Amazon

“Outstanding” by The Gap Band

The Gap Band’s 1982 hit “Outstanding” is one of those special songs that listeners can always rely on to lift their spirits and put them in a chill, relaxed mood. It has a comforting, reassuring quality, like that close friend who can always make you laugh no matter how down you feel. This elegant love anthem is exquisitely performed and arranged, seamlessly melding soul, jazz, and R&B. Charlie Wilson delivers a rich, soulful lead vocal performance, complemented by the splendid background harmonies. He expresses his deep love and admiration for his lady and how fortunate he is to have her. The musicianship on this track is first-class, with a cool, jazzy bass line, breezy horns, smooth keyboards, and a funky beat. It also features a brilliant chorus. 

“Outstanding” was written and arranged by Gap Band drummer and percussionist Raymond Calhoun. He said that his one-year-old daughter inspired the song. He discussed the song’s conception during an interview on the Can We Talk R&B? Podcast, which aired on September 14, 2026: 

My daughter was on the couch playing…my daughter Mika, and I was looking at her, and I was playing these chords [on a Fender Rhodes electric piano]. And I was looking at my daughter. I said, “Man, she’s so outstanding.” I was so proud of my daughter. The song was initially written about my daughter. The inspiration came from my daughter.

Calhoun said that he later “flipped the lyrics” to make the song more commercial, changing the theme from love and pride for his infant daughter to grown-up romance. He said he played the drums, percussion, bass, and all the keyboard parts on the track. The only instruments he didn’t play were the horns and guitar. 

“Outstanding” was released in November 1982 on Total Experience Records. It was the third single from the Gap Band’s platinum-selling sixth album, Gap Band IV. It topped Billboard’s R&B singles chart, peaked at #51 on the Billboard Hot 100, and climbed to #24 on Billboard’s Dance Club Songs chart. And it reached #68 on the UK singles chart. 

“Outstanding” is one of the Gap Band’s biggest hits and an enduring R&B standard. It’s a staple on classic R&B, soul, and Quiet Storm stations and can be heard blasting at countless cookouts and family get-togethers. It has been embraced by the hip-hop community and sampled on 154 songs, including “Happy” by Ashanti, featuring Ja Rule and “Da B Side” by Da Brat, featuring the Notorious B.I.G. and Jermaine Dupri. It was featured on the film soundtracks La Haine (1995), The Firm (2009), and Aloha (2015). The song has also been featured in several TV series. 

The personnel for Gap Band IV was Charlie Wilson (lead and backing vocals, keyboards, synthesizer, percussion), Robert Wilson (bass, percussion, lead and backing vocals), Ronnie Wilson (trumpet, flugelhorn, keyboards, synthesizer, percussion, and backing vocals), Raymond Calhoun (drums, percussion, keyboards, and synthesizer), Dionne Oliver (bass), Ronnie Kaufman (percussion), guitar (Fred Jenkins, Glen Nightingale, Jimi Macon), keyboards (Luis Cabaza, Oliver Scott, and Robert "Goodie" Whitfield), horns (Andy Ward, Earl Roberson, Larry Stone, and Oliver Scott), synthesizer (Luis Cabaza, Oliver Scott, Robert "Goodie" Whitfield), and backing vocals (Alisa Peoples, Cavin Yarbrough, David Drew, Sheila Young, Lonnie Simmons, Marva King, Maxayne Lewis, Rudy Taylor, and Val Young). Lonnie Simmons produced the album.

The Gap Band performing "Outstanding" live in Houston, Texas in 1983

The Gap Band performing "Outstanding" live sometime in the 1990s

"Outstanding" is available at Amazon 

“Steppin’ In It” by Herbie Hancock

Groundbreaking jazz icon Herbie Hancock fully integrated funk into his sound in 1973 with his landmark album Head Hunters. He had flirted with funk in earlier recordings, but it became an essential ingredient in his sonic stew with Head Hunters, widely considered the greatest and most definitive jazz-funk album of all time. 

The 1975 track “Steppin’ In It” shows Herbie continuing his funky journey. He brings the funk with maximum force on this explosive instrumental. This extra-nasty groove is the rhythmic and spiritual sequel to his jazz-funk classic “Chameleon.” It features funky guitar riffs, a ferocious beat, and super-tight horn volleys. Paul Jackson lays down an absolutely filthy synth bass line, played on an ARP Odyssey synthesizer. Stevie Wonder makes the most of his guest spot with a sizzling chromatic harmonica solo. The track also features some smooth, soulful Fender Rhodes electric piano from Herbie, who also plays clavinet, synthesizers, and acoustic piano.

“Steppin’ In It” is a track on Herbie’s fifteenth studio album Man-Child, a sterling offering of jazz-funk grooves served up in the multitalented musician's inimitable fashion. Herbie and David Rubinson produced the six-song collection, which was released on Columbia Records August 22, 1975. Herbie was the sole writer of “Steppin In It” and “Sun Touch” and cowrote the other four tracks.

The players on “Steppin In It” include DeWayne “Blackbird” McKnight (guitar), Mike Clark (drums), Bernie Maupin (saxophone), Melvin “Wah Wah Watson” Ragin (guitar),  Bud Brisbois (trumpet), Herbie Hancock (keyboards), Wayne Shorter (saxophone), Paul Jackson (synth bass), David T. Walker (guitar), Jay DaVersa (trumpet), Garnett Brown (trombone), and Stevie Wonder (harmonica).

“Steppin’ In It” is a favorite among true funk lovers and one of Herbie’s funkiest grooves.

Herbie and his funky crew performing "Steppin' In It" live in 1975

"Steppin' In It" is available at Amazon

Related blog entry:

Funkiest Synth Bass Lines

“Shake It Well” by The Dramatics

Acclaimed vocal quintet the Dramatics released the irresistible soul-dance track "Shake It Well” in 1977. The deep-simmering groove opens with a funky pluckin’ guitar riff followed by Larry “Squirrel” Demps’ sick intro: “My name is Squirrel, best shaker in the world.” His delivery is pimp-level smooth, effectively setting the track’s dope soulful vibe. The song also features strong vocal contributions from L.J. Reynolds and Ron Banks, with the other group members–Lenny Mayes and Willie Ford–adding gritty backing vocals. The song is about the therapeutic power of dance, how it can relieve stress, reduce anxiety, and alleviate depression. The instrumentation and production on this cut are first-rate.

“Shake It Well” was written by Eddie Robinson and Don Davis, who also produced it. It's the title track of the Dramatics’ album Shake It Well, released in July 1977 on ABC Records. The song peaked at #4 on Billboard’s R&B singles chart and #74 on the Billboard Hot 100. 

R&B and jazz fusion guitarist Cornell Dupree recorded an instrumental cover of “Shake It Well” for his 1977 album Cornell Dupree’s Saturday Night Fever.

The musicians who played on the Dramatics’ Shake It Well album included bassists Eddie Watkins, James Jamerson, Roderick Chandler, and Ray Parker Jr.; guitarists Bruce Nazarian, Dennis Coffey, Robert White, Don Davis, and Jay Joseph Graydon; keyboardists Rudy Robinson, Reginald Burke, and George Roundtree; drummers Edward Greene and Quentin Dennard; and Lorenzo “Bag Of Tricks” Brown on percussion and congas.

"Shake It Well" is available on Amazon.

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“Whatcha See Is Whatcha Get” by The Dramatics

"Get Up and Get Down" by The Dramatics

"Blue Morning, Blue Day" by Foreigner

“Blue Morning, Blue Day” was the third single from British-American rock band Foreigner’s 7x platinum second album, Double Vision (1978). The track’s dramatic intro features a menacing guitar riff that sets a dark tone of dread and impending disaster. This gives the opening a thrilling, cinematic feel. The song is expertly produced, arranged, and performed, boasting a terrific bass line and dynamic piano. It also features an indelible chorus and a cracking guitar solo. Frontman Lou Gramm delivers an impassioned vocal performance that’s filled with great anguish and desparation. The song explores a couple’s crumbling relationship and the emotional toll it has taken on the narrator. He is in a constant state of turmoil, anxiety, and despair, causing him many sleepless nights. The word “blue” in the song is used as a metaphor for sadness and emotional distress.

“Blue Morning, Blue Day” was co-written by Gramm and Foreigner’s lead guitarist, Mick Jones. Keith Olsen, Jones, and band member Ian McDonald produced it. The song wasn’t originally intended as a single, said Gramm in a 2018 interview with AXS. “It came about a little later in the sessions,” he said. “It was a dark horse track, and the mood of it was dark, but the story was so cool that it ended up being the third single from the album.”

Jones has said that he was inspired by progressive rock band Procol Harum when he and Gramm wrote “Blue Morning, Blue Day.” He discussed Procol Harum's influence on the song in a 2021 video interview with AXS TV: “Blue Morning' was one of my favorite tracks that we wrote,” Jones said. “I think I was going through a little phase of really digging Procol Harum, kind of almost semi-tragic, sad, blue. Blue morning, blue day.”

During an interview on the radio show In the Studio with Redbeard, Jones further elaborated on Procol Harum's influence on “Blue Morning, Blue Day”: 

That was a little Procol Harum coming out in me, the period with the big orchestra and ‘Conquistador.’ It was that mood. I felt very strongly that it was an inspiration in that song. And I was starting to experiment; I was getting clever (composing) on the piano! (chuckles).

“Blue Morning, Blue Day” was released on Atlantic Records in December 1978 in the U.S. and in February 1979 in the U.K. It peaked at #15 on the Billboard Hot 100 and #45 on the U.K. charts. It climbed to #21 in Canada. It was the third hit from the band’s iconic Double Vision album. The other two singles from the collection, ”Hot Blooded” and “Double Vision,” were even bigger hits, peaking at #3 and #2, respectively, on the Billboard Hot 100.

“Blue Morning, Blue Day” was sampled on “Purple Weed” (2006) by Mondo Marcia and “Steppin On Toes” (2007) by The Away Team. And it was featured on the soundtrack of the documentary film Sound City (2013). 

Foreigner was formed in 1976 in New York City. The original lineup consisted of vocalist Lou Gramm, guitarist Mick Jones, bassist Ed Gagliardi, drummer Dennis Elliott, keyboardist Al Greenwood, and multi-instrumentalist Ian McDonald. This was the band lineup for the Double Vision album. 

Foreigner is one of the most successful and best-selling rock bands of all time, with sales of more than 80 million records worldwide and 10 multi-platinum albums. They scored nine top-10 hits on the Billboard Hot 100, as well as 14 top-20 hits and 16 top-30 hits on that chart. Their first eight consecutive singles all cracked the top 20 on the Billboard Hot 100. The Beatles were the only other band to achieve this milestone. Foreigner was inducted into the Rock & Roll Hall of Fame in 2024.

Foreigner performing "Blue Morning, Blue Day" at Deer Creek Music Center in Noblesville, Indiana, 1993

"Blue Morning, Blue Day" is available on Amazon

“Baby Let Me Kiss You” by King Floyd

Celebrated New Orleans soul singer King Floyd released the infectious and massively funky track “Baby Let Me Kiss You” in March 1971. It was his follow-up to the crossover smash “Groove Me.” The syncopation on this powerful groove is tremendous. It moves at a sexy, funky strut and features a bodacious bassline, a killer horn arrangement, and extra-nasty guitar licks. Floyd delivers a dynamic, fervent vocal performance. He expresses his intense desire and physical attraction for a woman who has completely captivated him.

“Baby Let Me Kiss You” was written by King Floyd and produced by Elijah Walker. Renowned New Orleans producer, arranger, bandleader, and composer Wardell Quezergue was the song’s arranger. It was a single from Floyd’s self-titled second album, released in May 1971 on Cotillion Records, a subsidiary of Atlantic Records. The song performed well on the charts, peaking at #5 on Billboard’s R&B singles chart and #29 on the Billboard Hot 100.

The musicians who played on “Baby Let Me Kiss You” included Vernie Robbins (bass), Wardell Quezergue (organ), James Stroud (drums), Jerry Puckett (guitar), Jimmy Honeycutt (saxophone), and Bob Chessman (trumpet).

“Baby Let Me Kiss You” has been sampled on 18 songs, including “Bombastic” (Shaggy) and “Shoot ‘Em Up” (Cypress Hill). R&B and disco singer Fern Kinney’s cover of the track was featured in an episode of the three-time Emmy-winning Netflix series GLOW  (season 3, episode 2, 2019). “Baby Let Me Kiss You” was Floyd’s last song to make the Billboard Hot 100’s Top 40. 

"Baby Let Me Kiss You" is available on Amazon

Related blog entry:

"Groove Me" by King Floyd