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.
“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.
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.
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.
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
Detroit vocal quintet the Dramatics scored one of their biggest hits with this exquisite slice of soul in 1971. The track is brilliantly arranged and seamlessly melds Latin, soul, funk, and pop. William “Wee Gee” Howard and Ron Banks share lead vocals, infusing their performances with heaps of style and passion. Banks’ soothing falsetto nicely complements Howard’s gritty tenor. Group members Larry “Squirrel” Demps, Willie “Sugar Bear” Ford, and Elbert Wilkins all deliver strong performances on their featured vocal parts and rich harmonies. The song boasts a delicious fuzztone guitar riff, percolating percussion, marvelous horn charts, and airy strings. Banks brings additional flavor to the mix with some killer scatting, and Ford’s powerful bass vocals elevate the track tremendously, including his famous line “Look at me."
“What you see is what you get” was a popular catchphrase in the late 1960s and early ‘70s. Comedian Flip Wilson popularized it through his sassy drag character, Geraldine, on his hit TV variety show, The Flip Wilson Show, which originally aired on NBC from 1970 to 1974. The catchphrase inspired the Dramatics’ song “Whatcha See Is Whatcha Get.”
The song is an offer of genuine love to a prospective romantic partner. The narrator assures her that he’s not looking to play games, deceive, or cause her any heartbreak; that he's authentic and has nothing but good intentions: “But baby, I’m for real/I’m as real as can get.”
“Whatcha See Is Whatcha Get” was written and produced by Tony Hester, and Johnny Allen arranged the horns, strings, and rhythm charts. It’s the title track and lead single from the Dramatics’ debut album, released on Volt/Stax Records in November 1971. The song peaked at #3 on Billboard’s R&B singles chart and #9 on the Billboard Hot 100. And it reached #44 on the Canadian singles chart. The song has sold a million copies to date.
“Whatcha See Is Whatcha Get” has been sampled on 33 songs, including “Fight The Power” (Public Enemy), “I Know You See Me” (Lil’ Kim), and “Big Daddy vs. Dolemite” (Big Daddy Kane, featuring Rudy Ray Moore). It has been featured on the soundtracks of the films Detroit (2017), An Honest Liar (2014), Talk To Me (2007), Sunday Driver (2005), Darktown Strutters (1975), and Wattstax (1973). And it has been featured on notable television series such as American Soul (2019), Black Lightning (2018), and Fargo (2015).
Additionally, drag queen and singer RuPaul covered the song for the soundtrack of the 1993 film, The Addams Family Values. And hitmaking blue-eyed soul duo Hall & Oates recorded a cover of it for their 2004 album Our Kind of Soul.
The Dramatics performing "Whatcha See Is Whatcha Get" live
The Dramatics performing "Whatcha See Is Whatcha Get" on Soul Tra.in
Funk supergroup the Big Ol’ Nasty Getdown recently dropped their sizzling new single “When the Juice Ran Out.” This is electrifying funk delivered in the Getdown’s inimitable badass fashion. It features the formidable talents of Fishbone frontman Angelo Moore (lead vocals and saxophone), bassist Rodney “Skeet” Curtis (P-Funk/Maceo Parker), drummer Jack Irons (Red Hot Chili Peppers/Pearl Jam), and guitarist Tim Stewart (Lady Gaga/Suicidal Tendencies). Moore brings a ton of soul and energy to his dynamic lead vocal performance and also delivers some dazzling sax work. Curtis keeps the funk blazing with a furious bass line that's bolstered by Irons’ explosive drumming. And Stewart fires up the groove with some scorching guitar.
"When the Juice Ran Out" imagines what it would be like if the internet were to shut down and how it would impact our lives. It explores our over-dependence on technology and how we have replaced physical reality with digital illusion, and that the internet’s collapse would force us to reconnect on a physical and spiritual level.
The creation of “When The Juice Ran Out” was a collaborative effort. Bassist/producer John Heintz sent an isolated drum track recorded by Irons during a 2016 session to Curtis, who brought his bass brilliance to the mix, and Stewart contributed his considerable guitar skills. And Moore penned the song’s great lyrics and added some funky sax. The track was mixed by Fabrizio Grossi and mastered by Dave Gardner. Johnny “Thief” DiDonna and Jeff Wood created the single’s cool cover art.
The Big Ol’ Nasty Getdown is an ever-expanding genre-defying global collective comprised of 225 musicians from 180 bands covering 18 years, including members of notable bands such as Parliament-Funkadelic, Earth, Wind & Fire, Red Hot Chili Peppers, Kool & the Gang, Suicidal Tendencies, Sly & the Family Stone, the Meters, Fishbone, and Korn. Heintz founded the Getdown in 2007. It grew from his vision of capturing the spontaneous energy of jam sessions and bringing together talented players from a wide range of bands and genres. He got the ambitious project on its feet with the help of Yo Mama’s Big Fat Booty Band members Derrick Johnson and John-Paul Miller.
The Getdown's upcoming album Volume 3 is set for release on September 19.
Funk/R&B band the Soul Machine released the wicked funk track "Twitchie Feet" in 1968. The talented players perform this smooth instrumental with flair and finesse. It features a cold guitar riff, a treacherous beat, and some soulful organ. It also boasts a dynamic horn arrangement and a smokin’ sax solo. This cut is thoroughly satisfying, like a succulent sirloin steak served with all the trimmings. It has kind of an early New Orleans funk flavor, similar to the Meters but with horns.
Soul/funk artist Leon Haywood wrote, produced, and arranged this old-school gem. It was released on the independent Los Angeles-based label Pzazz Records. The track’s B-side is “Bag of Goodies,” which Haywood also wrote, arranged, and produced.
Twitchie Feet” has been sampled on eight songs, including “The Joker” (Fatboy Slim, featuring Bootsy Collins) and "Freedom Band" (Deliquent Habits). The band, the Incredible Say Whats!, released a great cover of “Twitchie Feet” in 2012.
Leon Haywood was a renowned singer, songwriter, and producer who enjoyed an impressive three-decades-long music career. Born in Houston, Texas, on February 11, 1942, he developed a love for music at a very young age and began playing piano at three. He was a keyboardist in soul legend Sam Cooke’s band from the early 1960s until Cooke’s death in 1964. Haywood is best known for his risqué 1975 hit “I Want'a Do Something Freaky to You,” which has been sampled on many songs, most notably Dr. Dre’s hip-hop classic “Nuthin’ But a G Thang.” In 1980, he released the irresistible dance track “Don’t Push It Don’t Force It,” which reached #2 on Billboard’s R&B singles chart. And he wrote and produced Carl Carlton’s Grammy-nominated hit “She's a Bad Mama Jama (She's Built, She's Stacked)," released in 1981. Haywood was also responsible for many other great recordings. He passed away on April 5, 2016, at age 74 and will forever be remembered for his significant contributions to soul and funk music.
I was unable to find any additional information about the Soul Machine, such as the names of the members and the exact year that the band was formed, or any of their other releases.
The Jackson 5 released the electrifying single “Dancing Machine” in February 1974. The track quickly dominated the R&B and pop charts and filled countless dance floors across the U.S. It was the group’s final top ten hit on the Billboard Hot 100 under Motown before they left the label in 1976 to sign with Epic Records, rebranding themselves the Jacksons. (Jermaine Jackson was then married to Hazel Gordy, daughter of Motown founder Barry Gordy, and was the only member to remain with the famous Motor City label, where he enjoyed a successful solo career and later with Arista Records in the '80s.)
“Dancing Machine” is exciting, high-adrenaline disco-funk. The dynamic groove is masterfully arranged and features supertight musicianship from the talented session players. It boasts a scorching beat, superb bass work, and wicked rhythm guitar licks. Michael Jackson and Jermaine both deliver strong vocal performances. Jermaine’s rich, butter-smooth vocals provide a nice contrast to Michael's gritty, explosive vocals. The track also features a fantastic instrumental break and an indelible chorus. The other Jackson brothers–Tito, Jackie, and Marlon–provide sturdy vocal support with their soulful harmonies.
The Jackson 5’s producer Hal Davis came up with the song idea for “Dancing Machine” after a woman on the Motown staff would regularly come into his office and dance whenever he played music. He told fellow label songwriter Don Fletcher, “She’s a dancing machine.” Working from this title, Davis and Fletcher wrote the song with guitarist Dean Parks. The song was originally an album track on the Jackson 5’s eighth studio album G.I.T.: Get It Together, released in September 1973. A remixed, edited version of the song was released as a single on February 19, 1974. It topped Billboard’s R&B singles chart and peaked at #2 on the Billboard Hot 100. It was the group’s first U.S. top ten hit on the pop charts since “Sugar Daddy” in 1971. The song also performed well on the charts in Canada, peaking at #2. The remixed version of “Dancing Machine” became the title track of the Jackson 5’s ninth studio album, released on September 5, 1974.
“Dancing Machine” is widely considered a classic and one of the group’s most recognized songs. It has sold more than three million copies to date. The song also earned the Jackson 5 their second Grammy nomination in 1975 for Best R&B Performance by a Duo or Group With Vocals, but it lost to Rufus’s hit “Tell Me Something Good.”
During live performances of “Dancing Machine,” Michael Jackson would launch into his incredible robot dance solo on the instrumental break, astonishing audience members with his flawless moves. His eye-popping robot solo let everyone know that his dance skills were just as strong as his tremendous vocal abilities. Moreover, the dance break helped further popularize the physically complex “robot” dance technique, first developed by Charles Washington in the late 1960s; however, its roots date back to the 1920s, when it was used theatrically in miming.
“Dancing Machine” has been sampled on 33 songs, including “Bitties in the BK Lounge” (De La Soul), “Automatic” (E-40, featuring Fabolous), and “Like This” (Girl Talk).
The song has been featured on many film soundtracks, including Homecoming: A Film by Beyoncé (2019), Michael Jackson’s Journey from Motown to Off The Wall (2016), Four Brothers (2005), Starsky & Hutch (2004), Contact (1997), The Inkwell (1994), and I’m Gonna Git You Sucka (1988). It has also been featured on numerous TV series, including Glastonbury 2017, The Jacksons: An American Dream (season 1, episode 2, part II, 1992), In Living Color (season 3, episode 21, 1992), Quantum Leap (season 1, episode 4, 1989), and Diff’rent Strokes (season 1, episode 18, 1979). Additionally, the song was featured on the soundtrack of the video game Karaoke Revolution (2009).
The session musicians who played on “Dancing Machine” were William Salter (bass), James Gadson (drums), Joe Sample (keyboards), Bobbye Hall (percussion), and guitars: Dean Parks, David T. Walker, and Arthur Wright. It was produced by Hal Davis and arranged by Arthur Wright.
Longer version of "Dancing Machine"
The Jackson 5 performing "Dancing Machine" on The Carol Burnett Show in March 1974
The Jackson 5 performing "Dancing Machine" on The Sonny & Cher Comedy Hour in January 1974
Funk music's notorious bad boy, Rick James, dropped this ruthless groove in 1983. The track features a stripped-down, synth-heavy sound with Roland TR-series drum machine beats. This was quite a departure from James’s typical guitar-based tracks that feature a full horn section and real drums. “Cold Blooded” boasts a vicious bass line, fiery synth blasts, and funky keys. And James delivers a rousing vocal performance. This furious slice of electrofunk still hits hard after repeated plays.
The song is about actress Linda Blair, star of the iconic horror classic The Exorcist, whom James dated for two years (1982 - 84). She became pregnant with his baby but decided to have an abortion. Blair didn't inform James about the pregnancy until after the procedure. He was reportedly hurt by the decision. James wrote in his memoir, “It was about how Linda could freeze my blood.” The song’s genesis came about when Blair told James she was interested in learning about writing music. He brought her into his recording studio to give her a firsthand look at the recording process. He began noodling around on some keyboards and came up with the bass line, and the song just grew from there.
James wrote, produced, and arranged “Cold Blooded” as well as played all the instruments. It was the title track of his seventh studio album, released on Gordy Records, a subsidiary of Motown Records. The song dropped on July 5, 1983. It was a major hit, occupying the top spot on Billboard’s R&B singles chart for six weeks. It peaked at #40 on the Billboard Hot 100 and climbed to #17 on Billboard’s dance chart.
“Cold Blooded” has been sampled on 16 songs, including “Got Your Money” (Ol’ Dirty Bastard, featuring Kelis), “Sophisticated Lady” (Mýa), and “Fantasy” (Yo-Yo). It has been featured on the TV series Atlanta (season 4, episode 2, 2022) and Fame (season 1, episode 2, 1982, and season 3, episode 11, 1984). It was also featured on the soundtrack of the BAFTA Award-winning action-adventure game Grand Theft Auto: San Andreas (2004).
Rick James & The Stone City Band performing "Cold Blooded" live in Cincinnati in 1983
Another clip of Rick & The Stone City Band performing "Cold Blooded" in concert
