Review of The Jacksons’ Triumph Album

The Jacksons released their fourteenth studio album, Triumph, in September 1980 on Epic Records. And it was indeed a triumph, both critically and commercially. With their previous album, Destiny, the brothers proved that they could write and produce a commercially successful, high-quality album on their own. Epic Records gave them the freedom to exercise their creativity and use their songwriting and production abilities, something they had never been given at Motown. The Jacksons’ songwriting and production skills are even sharper and more fully realized on Triumph, the strongest album in the group's oeuvre. The nine-song collection showcases their continued growth as songwriters, arrangers, and producers. 

The album kicks off in grand style with “Can You Feel It,” a stirring anthem of racial unity, equality, and global peace. Written and arranged by Michael and Jackie Jackson, the song features a dynamic bass line and fiery beat. It’s superbly arranged with magnificent strings, powerful horns, funky guitar riffs, and sensational synth work. Michael and his younger brother Randy share lead vocals. As usual, MJ brings the fire vocally, and Randy does a solid job on his vocals. The Jacksons created an epic video to accompany the song. It features spectacular visuals and presents the brothers as cosmic superhero-like saviors of humanity, spreading goodwill and positivity through their music. The video was highly groundbreaking for its time; its eye-popping visuals and tremendous scale blew people away.

“This Place Hotel” really highlights Michael Jackson’s considerable gifts as a songwriter and arranger. This sonic masterpiece is a precursor to later MJ-penned hits like “Billie Jean” and “Dirty Diana,” as it touches on similar themes of betrayal, paranoia, and deception. And sonically, it has that same ominous atmosphere of dread and impending doom as those songs. The narrator recounts a visit he and his girlfriend made to a mysterious hotel ten years ago for a romantic evening. To his dismay, he finds out that the hotel was designed to break up couples. The song boasts a haunting funk/post-disco groove that’s brilliantly arranged and performed. It features an exquisite horn arrangement, dramatic guitars, smooth piano, and an indelible chorus. MJ’s superb vocal performance is filled with great tension and fear. And big bro Tito serves up a fantastic guitar solo. Like many of MJ’s best tracks, This Place Hotel has a heightened cinematic feel. 

The Jacksons plunge deep into the funk on their exciting dance track “Lovely One.” This high-octane groove is sort of the sequel to their 1979 dance smash “Shake Your Body (Down to the Ground).” It has a similar energy and flow. Nathan Watts’ explosive bass line powers this fast-paced funk groove. The track features some wicked guitar licks, a blazing beat, soulful piano, and an incredible horn arrangement, performed by a combo of real horns and synth-horn overdubs. The track also boasts an infectious chorus. Michael delivers a killer vocal performance, replete with his signature vocal tics–hiccups, yips, whoots, and all. Michael and Randy wrote and arranged the song. 

“Your Ways” is a smooth R&B track with a mysterious pre-Thriller vibe, featuring spooky sound effects. Michael brings it with a strong vocal performance. His rich, soulful falsetto significantly elevates the song. It features a terrific horn arrangement, a cool bass line, and a sterling chorus. Jackie wrote the track.

Michael, Tito, and bassist Mike McKinney wrote the breezy, upbeat “Everybody.” The song features a groovin’ slap bass line and sweet guitar licks. It’s immaculately arranged and produced, with soaring strings and majestic horn charts. The song creates a feel-good vibe with MJ delivering a spirited vocal performance that’s complemented by his brothers' flawless background vocals.

“Time Waits For No One” is a beautiful mid-tempo ballad about lost love, regret, and loneliness. The song’s narrator reflects on the breakup with his partner. He wishes he had a second chance to make things right and demonstrate his love and appreciation, things that he failed to do when they were together. However, sadly, he realizes it’s probably too late, and time has moved on. The song features a tender, heartfelt vocal performance from Michael. His vocals are filled with great longing, regret, and heartbreak. And the song closes out with an absolutely breathtaking chorus. Jackie and Randy wrote and arranged this sorely underappreciated gem.

“Give It Up” is a vibrant, sunny groove that boasts a stellar arrangement. The musicianship and production on this track are impeccable, featuring swirling strings, luminous piano, and soaring guitar lines. Marlon delivers a pleasing vocal performance on the verses, and Michael brings his shimmering falsetto to the chorus and pre-chorus sections. The track was written by Randy and Michael. 

Jackie ably handles lead vocals on “Wondering Who,” a bumpin’, high-energy groove. The musicianship on this hot cut is top-flight, with Michael Boddicker serving up some nasty funk on the synths and vocoder. MJ adds some extra spice to the background vocals with his signature “hee hees.” Jackie and Randy wrote this song.

Nathan Watts’ furious slap bass line propels “Walk Right Now” into pure groove bliss. This cut is an absolute banger from start to finish. Watts and the other talented players keep the funk at maximum level throughout. The song boasts a sensational horn arrangement, a scorching beat, sweeping strings, and sick guitar licks. Michael brings tons of energy and soul to his lead vocals. The song is about a man who’s fed up with his partner’s constant infidelity and calls an end to the relationship once and for all. It was written by Jackie, Randy, and Michael, who also arranged it.

Triumph stands as one of the Jackson brothers’ greatest efforts. It’s consistently strong with zero filler, featuring some of their best songwriting. The album has sold more than three million copies worldwide. It topped Billboard’s R&B Albums chart and peaked at #10 on the Billboard 200. It also performed well on the charts internationally: the UK (#13), New Zealand (#8), Australia (#13), Sweden (#46), and Canada (#7). The collection earned the Jacksons a Grammy nomination for Best R&B Performance by a Duo or Group With Vocals in 1981.

“Lovely One” topped the Billboard Dance Club Songs chart and peaked at #12 on the Billboard Hot 100 and #2 on Billboard’s R&B singles chart. It reached #29 on the UK singles chart and #14 on the Irish singles chart. “This Place Hotel” peaked at #22 on the Billboard Hot 100 and #2 on Billboard’s R&B singles chart. It rose to #44 on the UK singles chart. “Can You Feel It” reached the summit of the Billboard Dance Club Songs chart and peaked at #30 on Billboard’s R&B singles chart and #77 on the Billboard Hot 100. It performed well on the charts in the UK (#6), Ireland (#12), and Australia (#10). “Walk Right Now” topped the Billboard Dance Club Songs chart and peaked at #73 on the Billboard Hot 100 and #50 on Billboard’s R&B singles chart. It enjoyed significant chart action across the pond, the UK (#7), and Ireland (#16).

Here’s the full personnel for Triumph: Michael (lead and backing vocals, percussion), Tito (guitar, backing vocals), Marlon (backing vocals, co-lead vocals on track 8, timpani track 5), Randy (percussion, backing vocals, co-lead vocals on track 1), Jackie (backing vocals, lead vocals on track 9); bass (Clay Drayton, Mike McKinney, and Nathan Watts); guitar (David Williams, Greg Poree, Michael Sembello, Paul Jackson Jr. and Phil Upchurch); keyboards (Greg Phillinganes, Ronnie Foster); drums (Ollie E. Brown); synthesizers (Webster Lewis, Greg Phillinganes and Michael Boddicker); percussion (Lenny Castro and Paulinho da Costa); horns (Bill Reichenbach, Kim Hutchcroft, Jerry Hey and Larry Hall); vibraphone (Gary Coleman); flute (Gary Herbig); background vocals (Julia Tillman Waters, Maxine Willard Waters, and Stephanie Spruill, who directed the adult choir on “Can You Feel It”). La Toya Jackson provided the scream at the opening of "This Place Hotel."

Thomas “Tom Tom 84” Washington helped with the arrangements on “Lovely One” and arranged “Your Ways.” Additionally, he did the string arrangement on “Can You Feel It” and the horn arrangement on “This Place Hotel.” Jerry Peters did the string arrangements on “Time Waits For No One” and “Give It Up.” Jerry Hey did the horn arrangement on “Everybody” and arranged the prelude on “This Place Hotel.” Greg Phillinganes was the album’s associate producer. 

Full Triumph album

Official video for "Can You Feel It."

Triumph is available at Amazon

Related blog entries:

The Jacksons Perform "Shake Your Body (Down To The Ground)" In Toronto For 1984 Victory Tour

Review of Michael Jackson's Off The Wall Album

"Dancing Machine" by The Jackson 5 

“Groove Me” by King Floyd

New Orleans soul singer and songwriter King Floyd landed his biggest hit with the shimmering bop “Groove Me” in September 1970. This sweet, heartfelt track resonated with a wide audience, becoming a huge crossover smash. It's masterfully arranged and performed, featuring an irresistible bass line, a funky beat, tight guitar licks, and marvelous horn charts. Floyd packs his fantastic vocal performance with heaps of soul and passion. The song's romantic sentiments are strongly conveyed through his expressive voice. 

“Groove Me” was written by Floyd and produced by Wardell Quezergue, a producer, composer, arranger, and bandleader. It was recorded at independent label Malaco Records’ Jackson, Mississippi recording studios during the same session as another Quezergue-produced song, Jean Knight’s “Mr. Big Stuff.” Floyd recorded “Groove Me” in just one take. He explained how the song came about to Grammy-winning author and musicologist Rob Bowman in an excerpt from the book The Last Soul Company: The Malaco Records Story. He told Bowman that the song was inspired by a young female college student who worked less than 20 feet away from him when he was employed at a box factory in East Los Angeles sometime in the late 1960s.

She’d just watch me and smile at me all day. When I went to the water fountain, she would make it her purpose to come up to the water fountain. But I was so shy. So, I decided one day that I was gonna write this poem and give it to her, and I wrote ‘Groove Me.’ Believe it or not, after I finished it, she never came back to work. It blew me away. So, I never gave her the poem. Man, I’d sure like to meet her one day just to thank her!

“Groove Me” was originally released as the B-side of Floyd’s song “What Our Love Needs” on Chimneyville Records, a subsidiary of Malaco Records. New Orleans deejay George Vinnette immediately recognized that “Groove Me” possessed a special quality and played it instead. It quickly blew up locally and caught the attention of Atlantic Records who distributed it nationally. The song spent four non-consecutive weeks atop Billboard’s R&B singles chart and peaked at #6 on the Billboard Hot 100. And it reached #11 on the charts in Canada. It has sold over a million copies and was certified Gold by the RIAA. The song was included on Floyd’s self-titled second album, released in 1971 on Cotillion Records, a subsidiary of Atlantic Records. 

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

“Groove Me” has been sampled on 45 songs, including LL Cool J’s “A Little Somethin’,” Kool Moe Dee’s “All Night Long,” Heavy D & the Boyz’s “Silky,” and Bobby Brown’s “Slick Partner.” And it has been featured on the film soundtracks, Are You There God? It’s Me, Margaret (2023), Drunk Stoned Brilliant Dead (2015), Something Borrowed (2011), We Are Marshall (2006), Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland (2006), Baadasssss! (2003), Austin Powers in Goldmember (2002), The Original Kings of Comedy (2000), Manchala (1999), The Sex Monster (1999), Swingers (1996), Beautiful Girls (1996), and The Best of the Blues Brothers (1993). Additionally, it has been played on several television series, including The Man Who Fell to Earth (season 1, episode 5, 2022), American Soul (season 1, episode 6, 2019), Scandal (season 3, episode 16, 2014), and The Simpsons (season 9, episode 12, 1998).

The song has been covered by well-known music artists such as Etta James, Angie Stone, and the Blues Brothers.

In addition to “Groove Me,” Floyd scored two other big R&B hits, “Baby Let Me Kiss You” (#5 on the U.S. R&B charts and #29 on the U.S. pop charts) and “Woman Don’t Go Astray” (#3 on the U.S. R&B charts and #53 on the U.S. pop charts). 

King Floyd was born in New Orleans, Louisiana, on February 13, 1945, and passed away on March 6, 2006, at age 61. He is remembered as a premier soul singer and songwriter and one of the many great talents to come out of NOLA. 

King Floyd performing "Groove Me" on a TV show in 1970

"Groove Me" is available at Amazon

P-Funk Co-Founder and Rock and Roll Hall of Famer Billy Bass Nelson Dies at 75

William "Billy Bass" Nelson Jr., founding member and original bassist for Parliament-Funkadelic, died on January 31. He was 75. The talented musician was known for his gritty, highly funky bass-playing style. He played bass on Funkadelic's first three albums: Funkadelic (1970), Free Your Mind... and Your Ass Will Follow (1970), and Maggot Brain (1971). These seminal LPs helped define Funkadelic’s dynamic acid-funk sound. Nelson also played bass on Parliament’s groundbreaking first album Osium, released in July 1970. And he played guitar on Parliament’s second album Up for the Down Stroke (1974). In addition to his formidable abilities on the bass and guitar, he was a skilled songwriter. He cowrote the classic Funkadelic tracks “Super Stupid,” “Hit It and Quit It,” “I Call My Baby Pussycat,” “Music For My Mother,” and “You And Your Folks, Me And My Folks.” Additionally, Nelson coined the name “Funkadelic,” aptly describing the band’s electrifying sonic stew of psychedelic rock, funk, blues, and soul. 

“Billy Bass Nelson was funk before funk had a name,” wrote Bootsy Collins in a social media post. “Respect forever.” In his 2014 memoir, George Clinton wrote: “Billy set the standard for everything that followed. His Funkadelic work is still among my all-time favourite stuff. He had the Motown flavor with an aggressive rock attitude.” Shortly after Nelson’s death, Clinton wrote, “Rest in eternal peace and Funk” on his Facebook page. “He doesn’t always get mentioned first,” said music historian Marcus Johnson. “But without Billy Bass Nelson, the P-Funk sound doesn’t exist.”

The musician was born on January 28, 1951, in Plainfield, New Jersey. As a teen, he worked sweeping floors and cleaning up at the Silk Palace, a Plainfield barbershop owned and operated by George Clinton. At the time, Clinton was a member of the doo-wop vocal group the Parliaments, which consisted of Clarence “Fuzzy” Haskins, Grady Thomas, Raymond Davis, and Calvin Simon. The group scored a big hit with their 1967 single, “(I Wanna) Testify.” It peaked at #3 on Billboard’s R&B singles chart and #20 on the Billboard Hot 100. This significantly increased the Parliaments’ popularity, resulting in them booking many more gigs. Nelson suggested that the group hire a backing rhythm section so they would no longer have to rely on house bands while touring. Clinton was receptive to this idea and recruited Nelson to be part of the then-unnamed backing band. Nelson initially played guitar for the band. He recommended his good friend Eddie Hazel, who was a gifted young guitarist. Hazel was quickly brought on board, with Nelson switching to bass.

Motown bass legend James Jamerson provided bass-playing tips and encouragement to Nelson, who had never played the bass before joining the Parliaments’ backing band. He took to the bass like a duck to water. He was a natural. The band eventually recruited drummer Ramon "Tiki" Fulwood, rhythm guitarist Lucius “Tawl” Ross, and keyboardist Mike Atkins (later replaced by Bernie Worrell). They backed the Parliaments at all their shows and played on their studio recordings, including the minor hit “Good Old Music." The band members' chemistry steadily grew, and they soon became a tight, badass groove unit. Their sound gradually evolved from soul and doo-wop to powerful guitar-driven acid funk. In 1967, Nelson came up with the band’s name, “Funkadelic,” a merging of “funk” and “psychedelic.” The name stuck as it perfectly described the band’s sound and what they were about. However, it didn’t officially become the band’s name until the following year.

In 1968, the Parliaments and their backing band Funkadelic relocated to Detroit and signed with Westbound Records that same year. Contractural issues with the group’s previous label, Revilot Records, caused Clinton to temporarily lose the rights to the name “The Parliaments.” This necessitated that the entire ensemble–singing group and band–sign to Westbound Records under the name Funkadelic. The band released its self-titled debut album on the label in 1970. Nelson played on this album and Funkadelic’s next two LPs before leaving the band in late 1971 following a financial dispute with Clinton.

In the subsequent years, Nelson recorded or performed with prominent music acts such as the Commodores, Chairmen of the Board, Smokey Robinson, Fishbone, Wilson Pickett, Jermaine Jackson, and Lenny Williams. One of his most notable gigs was playing alongside his former Funkadelic bandmate Eddie Hazel on the Temptations' 1975 R&B chart-topping single, “Shakey Ground,” which Hazel also co-wrote. The two musicians raised the funk level to the stratosphere on this wicked cut. Nelson also played bass on the Temptations’ track “Happy For You,” which also topped Billboard’s R&B singles chart. It was the lead single from the Temps’ 1975 album A Song For You, the same album that features “Shakey Ground.”

Nelson also played on solo albums by various P-Funk members, including Bernie Worrell and Ruth Copeland, among others. He briefly rejoined Funkadelic in the studio to play on “Better By The Pound,” a track from the band’s seventh studio album, Let’s Take It To The Stage, released in 1975. And he played on the Funk Mob’s eighth studio album, Tales of Kidd Funkadelic (1976).

In 1993, Nelson released his first and only solo album, Out of the Dark, under the name O.G. Funk. The collection was co-produced by Nelson and Bill Laswell. Its personnel included P-Funk veterans Bernie Worrell, Jerome "Bigfoot" Brailey, and Gary “Mudbone” Cooper. Nelson rejoined the P-Funk crew permanently in 1994, touring and recording with them. However, they no longer went by Parliament-Funkadelic when Nelson returned to the fold. They had rebranded themselves as George Clinton and the P-Funk All-Stars in 1981. Legal and financial issues led to the dissolution of Parliament-Funkadelic, hence the new name.

Nelson was inducted into the Rock and Roll Hall of Fame alongside 15 other P-Funk members in 1997. The musician has had a significant impact on funk music and bass playing. He has influenced legions of bassists in the genres of soul, funk, rock, R&B, alternative, and hip-hop. Acclaimed bassists such as Norwood Fisher (Fishbone) and Flea (Red Hot Chili Peppers) cite Nelson as a major influence and inspiration, and he’s a venerated figure among P-Funk devotees.

"Fell In Love With a Boy" by Joss Stone

English singer-songwriter Joss Stone transformed the White Stripes’ garage-rock classic “Fell In Love With a Girl” into a sensual, soul-drenched funk burner on this amazing 2004 cover. The then 16-year-old artist switched the genders in the title and brought her own unique flavor to this anthem of youthful infatuation, desire, and romance. She infuses her vocals with tons of sultry soul and attitude. And she’s backed by acclaimed hip-hop/neo-soul band the Roots. Questlove anchors the groove with a powerful beat, and Adam Blackstone delivers a wickedly funky bass line. His bass is hooked up to a MoogerFooger Bass MuRF pedal, giving it a slippery, seductive feel. And guitarist “Captain” Kirk Douglas accentuates the groove with some tasty licks. This track proved a perfect fit for Stone’s soulful vocal style, and it was a great way to introduce the talented young singer to the world.

“Fell In Love With a Boy” was the lead single from Stone’s multi-platinum debut album The Soul Sessions, released September 16, 2003, on S-Curve Records. The song was produced by Questlove, Betty Wright, Michael Mangini, and Steve Greenberg. It was released in the U.S. on January 12, 2004, and in the UK on January 26, 2004. It debuted and peaked at #18 on the UK Singles Chart. It also saw significant chart action in New Zealand (#23), the Netherlands (#2), Italy (#36), Scotland (#18), and Belgium (#16). 

The single received mainly high marks from music critics who praised its authentic retro soul and funk production and Stone’s strong vocal performance. The song’s writer, Jack White, gave it his glowing stamp of approval. “He told me he loved it and that when he plays it live, he plays my version rather than his own!” said Stone in a 2007 interview with Q magazine. “How’s that for approval! Cool bloke, Jack White!”

Following the release of The Soul Confessions, Stone’s star steadily continued to rise. Her second album, Mind Body & Soul (released September 15, 2004), also went multi-platinum, receiving love from fans and critics. Most of her subsequent albums have been well-received by both the public and critics. She has established herself as a significant voice in classic soul and R&B music, garnering numerous accolades and awards for her work, including a Grammy and two Brit Awards. The artist has sold more than 15 million albums worldwide and has performed alongside esteemed music legends such as James Brown, Gladys Knight, Stevie Wonder, Sting, and Van Morrison. Her dynamic sound encompasses soul, reggae, R&B, funk, pop, blues, and world music.

Stone’s 2026 “Less Is More” tour kicks off on February 3 at the historic Balboa Theatre in San Diego, California. For more tour info, visit her official site.

"Joss Stone" performing "Fell In Love With a Boy" on the series VH1 Divas 2004

"Fell In Love With a Boy" is available at Amazon

“Funky Music Sho Nuff Turns Me On” by Edwin Starr

Renowned singer-songwriter Edwin Starr expresses his love for funk music on the explosive 1971 single “Funky Music Sho Nuff Turns Me On.” This release was particularly timely, as funk truly came into its own in the 1970s, becoming an integral part of popular music and laying the groundwork for genres such as disco, hip-hop, go-go, and electronic dance music, among many others. In the mid-1960s, funk innovator James Brown ignited the spark that would become a full-blown conflagration by the time the ‘70s rolled around. 

This exhilarating groove anthem celebrates funk as a powerful and liberating mode of expression. Starr sings about how funk resonates with him on a spiritual and physical level, moving both his soul and body. He infuses his soul-stirring vocal performance with fire and conviction. Legendary Motown session band, the Funk Brothers, keep the funk at maximum level with their supertight playing. The track features an earth-shaking beat, nasty rhythm guitar licks, a furious bass line, and soulful piano. And it also boasts a mighty chorus and some wicked harmonica. 

“Funky Music Sho Nuff Turns Me On” was written by the famed songwriting/production team of Barrett Strong and Norman Whitfield. It was released on Gordy Records, a primary subsidiary of Motown, in 1971. It peaked at #6 on Billboard’s R&B singles chart and #64 on the Billboard Hot 100. It was included on Starr's fifth studio album Involved (1971), which was produced by Whitfield.

The track was sampled on two Public Enemy songs, “You Can’t Truss It” (1991) and “War at 33⅓” (1990).” And musician and hip-hop emcee Justin Warfield sampled it on his 1993 song “K Sera Sera.” It has been covered by prominent music artists such as Patti LaBelle and the Temptations.

Starr's “Funky Music Sho Nuff Turns Me On” was featured in an episode of the acclaimed Emmy-winning medical procedural drama The Pitt (season 1, episode 1, originally aired January 9, 2025, on HBO Max). It was also featured on the soundtracks of the films Nobody (2021) and Day Shift (2022).

Starr enjoyed a highly successful recording career during the 1960s and '70s, landing several hits on the R&B and pop charts, including “Twenty-Five Miles” and "Agent Double-O-Soul." He is best known for his iconic rendition of the blistering anti-war protest anthem “War,” released in June 1970. He was posthumously inducted into the National Rhythm & Blues Hall of Fame in 2013 and the Michigan Rock and Roll Legends Hall of Fame in 2017. His recording of “War” earned him a Grammy nomination in 1971 for Best R&B Male Vocal Performance, and the song was inducted into the Grammy Hall of Fame in 1999.

"Funky Music Sho Nuff Turns Me On" is available at Amazon.

“The Smurf” by Tyrone Brunson

Bassist, singer, songwriter, and producer Tyrone Brunson landed his biggest hit with the seminal electro-funk track “The Smurf,” released in late 1982. This electrifying instrumental had a significant impact on funk, hip-hop, and electronic music. It’s widely recognized for bridging traditional funk with emerging electronic sounds of the 1980s, such as LinnDrums and synthesizers. The track was pivotal in the evolution of electro-funk, which defined the sound of early ‘80s hip-hop, as well as laying the groundwork for other dance music genres, such as techno, house, and go-go. 

The synth-heavy groove has a funky, mechanized feel with percolating drum-machine beats and powerful synth stabs. Brunson brings his formidable bass skills to the mix with some supertight thumpin’ and pluckin’, significantly heightening the song's groove factor. It became a defining track of that period's street dance culture and a favorite among breakdancers and pop lockers, evolving into a full-fledged hip-hop anthem. Club DJs began spinning it regularly, and it even found its way across the pond into UK clubs.

“The Smurf” was named after a dance craze that was blowing up in NYC clubs in the early 1980s. Brunson’s hit further popularized the dance, causing it to quickly spread across the U.S. and abroad. The dance got its name from its resemblance to the arm movements of the little blue Smurf characters from the famous Belgian comic and cartoon series. 

“The Smurf” was written by singer, guitarist, and songwriter Otis Redding III, son of soul legend Otis Redding. It was the lead single from Brunson's debut album Sticky Situation (1983). The song peaked at #14 on Billboard’s R&B singles chart and #35 on Billboard’s Dance Club chart. And it rose to #52 on the UK singles chart, remaining on the chart for five weeks. Brunson produced Sticky Situation, and Russell Timmons Jr. is listed as the album’s executive producer.

“The Smurf” has been sampled on 24 songs, including 2 Live Crew’s 1989 track “Dirty Nursery Rhymes.” And it’s featured on the soundtrack of the highly popular 2002 action-adventure video game “Grand Theft Auto: Vice City.”

Here’s the full personnel for “The Smurf”: Tyrone Brunson (bass), Louis Oxley (synthesizer), and Bashiri Johnson (percussion).

Here's a cool clip from the 1984 film Beat Street set to "The Smurf." (The actual song played in the film sequence was "Beat Street Strut" by Juicy.) 

 

"The Smurf" is available at Amazon

Related blog entry:

"Fresh" (Scratch Mix) by Tyrone Brunson

Review of Black Ice’s album I Judge The Funk

In the mid-1970s, Hadley Murrell, a veteran DJ and producer, established HDM Records, a Los Angeles-based imprint specializing in soul, R&B, and disco music. Amherst Records initially distributed HDM before the label switched to TK Productions. Under HDM, Murrell assembled a roster of talented songwriters and performers. One of HDM’s most notable acts was Black Ice, a five-member LA-bred R&B/soul outfit. The vocal quintet released two albums on the label: Black Ice (1977) and I Judge The Funk (1979). They released their third and final album, Black Ice (1982), on Montage Records. Murrell produced all three of Black Ice's albums.

Singer Cleveland Jones formed Black Ice in the 1960s with his friends, brothers Ronald and Donald Haynes, in the Watts neighborhood of Los Angeles. The group was originally called the Soul Sonics. (Murrell had the group change their name to Black Ice after they signed to HDM Records in 1976.) They modeled themselves after legendary vocal groups like the Temptations, who were known for their rich, soulful harmonies and smooth, synchronized choreography. When Ronald and Donald went off to college, Cleveland held numerous auditions to recruit new group members. This resulted in Antone Curtis, Frank Willis, Gerald Bell, and Ralph Lars joining the group. This was the group lineup for their first and second album.

Black Ice’s second album, I Judge The Funk, is an impressive collection of funk, disco, and R&B tracks. Murrell brought in some of the best session musicians available to play on the album, and Ray Jackson handled all the song arrangements. An album highlight is the infectious title track. The funky feel-good groove features a bumpin’ bass line, wicked synths, soulful vocals, and a smooth piano riff. Another standout track is “Play More Latin Music,” a fantastic high-energy fusion of soul, Latin, and funk designed to heat up any dance floor. And it boasts a marvelous vocal arrangement that’s flawlessly performed by the group. The collection also features great mellow jams, such as the soothing and sumptuous “Postcard Love Affair.” The track is exquisitely arranged, and the vocals are silky smooth. Another powerful track from the collection is the majestic “You’re Always On My Mind,” which features a sensational falsetto-laced lead vocal performance. “My Fantasy” is a captivating disco cut, boasting an elegant string arrangement, tight horns, and superb bass work. The track also features a dynamic beat that’s accentuated by hot congas, and the vocals are top-flight. “Push” is a lively, irresistible groove that has a kickin’ bass line, dope guitar licks, and a cool horn arrangement. The group mellows things out again for the mesmerizing ballad "Fantasize," which features incredible vocals.

Dwight Emile, Eddie Horan, and Hadley Murrell wrote seven of the album's eight tracks. All five Black Ice members, along with the album’s assistant engineer Ronald Bell, wrote “Fantasize.”

I Judge The Funk failed to crack Billboard’s album charts, and none of its singles charted. However, it’s considered a great work in funk and soul music circles. The collection showcases the group's inspired blend of funk, Philly soul, Latin, disco, and R&B, and it has been a go-to source for many music acts that followed. And it’s also highly regarded among fans of the golden era of soul and R&B music of the 1960s and '70s.

Acclaimed R&B artist Ari Lennox sampled “Postcard Love Affair” for her 2018 single “Pedigree,” and modern funk band Calumet recorded a great cover of “I Judge The Funk” in 2021. 

To learn more about this super-talented but sorely underappreciated group, check out the 2022 documentary Behind The Groove: The Black Ice Documentary, currently streaming on Tubi. It provides a comprehensive and absorbing exploration of Black Ice and its history.

I Judge The Funk is available at Amazon