"Dancing Machine" by the Jackson 5

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, who was then married to Motown head honcho Berry Gordy’s daughter Hazel, was the only member to remain with the famous Motor City label, where he enjoyed a successful solo career.)

“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 and Jermaine both deliver strong vocal performances. Jermaine’s rich, butter-smooth vocals provide a nice contrast to Michael's explosive vocals. The track also features a fantastic instrumental break and an indelible chorus, as well as a great hook: “Dancin', dancin', dancin' She's a dancin' machine.” 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 Don Fletcher, another songwriter at the label, “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. It also earned the Jackson 5 their second Grammy nomination in 1975 for Best R&B Performance by a Duo or Group With Vocals, but lost to Rufus’s hit “Tell Me Something Good.”

During live performances of “Dancing Machine,” Michael Jackson would unleash his incredible robot dance solo on the instrumental break, astonishing audience members with his flawless moves. Before this, his dancing was largely confined to the uniform group choreography. 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 (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

"Dancing Machine" is available at Amazon

Related blog entries:

The Jackson 5 Get Funky On "Get It Together"

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

Jermaine Jackson's "Tell Me I'm Not Dreaming (Too Good To Be True)," featuring Michael Jackson

"Cold Blooded" by Rick James

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

"Cold Blooded" at Amazon

Related blog entry:

"You And I" by Rick James

"Nothing From Nothing" by Billy Preston

Billy Preston lit up the airwaves and delighted countless music lovers with his feel-good hit “Nothing From Nothing” in 1974. The track is an exhilarating blend of soul, pop, gospel, and funk with a dash of ragtime. It has a rip-roaring intro, with the horn section kicking things off with a sideshow blast that leads into some foot-stompin' gospel piano. Preston’s charisma is off the charts, infusing his vocals with tons of soul and infectious joy. The spirited groove features jaunty horn lines, old-timey ragtime banjos, and swingin’ saloon-style piano.

Preston began writing “Nothing From Nothing” in a dressing room at an Atlanta venue where he was performing. He wanted to write a song based on the saying “nothing from nothing,” a variation of the line “When you ain’t got nothing, you got nothing to lose,” from Bob Dylan’s classic “Like a Rolling Stone.” He brought the song idea to his long-time songwriting partner, Bruce Fisher, who wrote the second verse. Preston also produced the song. In an old interview, he said, “The saloon piano gave it character, and I had a feeling it would be a hit because it was a sing-along kind of thing.” 

The song’s narrator informs a prospective romantic partner that they need to bring something substantial to the table if they’re going to have a future together: “Nothin’ from nothin’ leaves nothin’ / You gotta have somethin’ if you want to be with me.” However, taken in a broader context, the song has a more universal meaning: In most things in life, one has to contribute something to receive something in return. Preston once explained that the song was about self-reliance, and that effort and contribution are necessary to gain anything worthwhile.

Preston and Fisher show their usual flair for clever, humorous wordplay, i.e., “I’m not trying to be your highness/’Cause that minus is too low to see.”

“Nothing From Nothing” was a single from Preston’s ninth studio album, The Kids & Me (1974). The song was released on August 5, 1974. It topped the Billboard Hot 100 and peaked at #8 on Billboard’s R&B singles chart. It climbed to #5 on the singles chart in Canada and peaked at #60 on the charts in Australia. The single has sold over a million copies and garnered Preston a Grammy nomination for Best Pop Vocal Performance, Male. “Nothing from Nothing” was Preston’s second number one on the Billboard Hot 100. His first was “Will It Go Round in Circles,” released in 1972.

Preston performed “Nothing From Nothing” on the inaugural episode of Saturday Night Live on October 11, 1975. The other musical guest was award-winning singer-songwriter Janis Ian. They were the first musical performers on the iconic long-running late-night live sketch comedy variety show. The host of the episode was influential comedy legend George Carlin. 

“Nothing From Nothing” has been sampled on 10 songs, including the Beastie Boys’ "Time To Get Ill.” It has been featured on many film soundtracks, including Nutcrackers (2024), Saturday Night (2024), Be Kind Rewind (2008), Elf (2003), and To Die For (1995).

The song was played at the end of the season finale of season 3 of the popular Emmy-winning HBO anthology series The White Lotus. The finale originally aired on April 6, 2025. “Nothing From Nothing” was also featured in the 2024 Apple TV+ animated Peanuts special Snoopy Presents: Welcome Home, Franklin. Other TV series the song has been featured on include South Park, Hacks, and My Name Is Earl.

Additionally, “Nothing From Nothing” was used in all GM-brand commercials in late 2002. And the song was mentioned in James Baldwin’s last novel, Just Above My Head, originally published in 1979. And the late rap artist Mac Miller covered the song in August 2018 during a Spotify session in New York City.

The players on “Nothing From Nothing” include Billy Preston (piano, keyboards, vocals), Bobby Watson (bass), Manuel Kellough (drums), Tony Maiden (guitar), Kenneth Luper (keyboards), Al Perkins (banjo), and Joe Walsh (guitar).

Preston performing "Nothing From Nothing" in Japan in 1995. The all-star band included Ringo Starr on drums and John Entwistle of the Who on bass.

"Nothing From Nothing available at Amazon

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"Will It Go Round In Circles" by Billy Preston

Review of Peter Jackson's The Beatles: Get Back Documentary Series

Album Review of Funkadelic's Standing On The Verge Of Getting It On

Funkadelic released their sixth album, Standing On The Verge of Getting It On, in July 1974.  This album marked Eddie Hazel's return after missing in action on the band’s previous album, Cosmic Slop (1973), and only making minimal contributions to the album before that, America Eats Its Young (1972). His break from the Funk Mob was due to his ongoing struggles with drug addiction and alcoholism, personal legal issues, and royalty disputes with George Clinton. 

The guitar legend returned with a vengeance. The album not only showcased his phenomenal guitar skills but also his considerable abilities as a songwriter. Hazel co-wrote all the tracks on the album. He used his mother’s name, Grace Cook, as a pseudonym for six of his seven songwriting credits on the album. He did this to avoid potential contractual difficulties with publishing rights in the wake of his legal and financial troubles.

The album kicks off with a badass remake of Parliament’s “Red Hot Mama.” George Clinton opens the song with a freaky double soliloquy featuring his signature off-center humor and clever wordplay. He sounds like a funky mystical prophet delivering a wigged-out sermon from another dimension. This high-powered track features some brilliant guitar work from Hazel and Ron Bykowski. And Hazel and Clinton pack tons of soulful fury into their co-lead vocals. Bernie Worrell's percolating clavinet keeps the funk at maximum level. 

The blistering “Alice in My Fantasies” features more fretboard fireworks from Hazel, who’s joined by Bykowski and Garry Shider in a furious unified guitar assault. This is straight balls-to-the-wall psychedelic rock, as only Funkadelic could do it. The song goes full throttle and doesn’t let up. Clinton delivers a frenzied vocal performance, sounding like he's right on the edge of a full-on breakdown. The song is about a brazen, self-described “freak” who’s willing to perform all sorts of wild sexual acts for Clinton’s benefit. 

“I’ll Stay” is an inspired reworking of the Parliaments’ “I’ll Wait.” The somber, finely crafted soul ballad features a strong vocal performance from Shider. And the mesmerizing background harmonies evoke the band’s early doo-wop days. The track also boasts exquisite guitar work from Bykowski and Hazel. 

The title track, “Standing On The Verge of Getting It On,” is an electrifying fusion of funk and rock. If someone were looking for a quintessential example of funk-rock, this song would be it. There is an urgency about this rousing groove anthem, and the energy is palpable. The band is on fire, bringing equal shares of high-voltage rock and uncut funk to the mix. The song boasts a powerful call-and-response chorus that's elevated by Shider’s soul-stirring lead vocals. It explores themes of freedom and identity, and urges the listener to keep an open mind when it comes to the band’s innovative sound. 

George Clinton’s wicked sense of humor surfaces on the Frank Zappa-esque “Jimmy’s Got a Little Bit of Bitch in Him.” It’s a humorous song about a gay friend. The song has a surprisingly empathetic gay-friendly sentiment, albeit delivered in Clinton’s typical ribald fashion. This track openly acknowledges the LGBTQ+ community, a subject that most music artists avoided at the time. Musically, the song has a unique arrangement with some rockin' piano and sweet guitar licks. 

The meditative “Good Thoughts, Bad Thoughts” takes listeners on a deep, intoxicating sonic journey. Hazel’s playing is simply sublime. He makes his guitar shimmer on this majestic track. At the song's midpoint, Clinton delivers a philosophical and inspirational soliloquy. It’s about how the power of thought can significantly shape one’s reality and influence their life experiences; it suggests that negative thoughts can bring about negative outcomes, and positive thoughts can lead to positive outcomes. The song is reminiscent of “Maggot Brain” in structure and tone.

“Sexy Ways” is an irresistible funk groove. The track features some great bass work from Cordell “Boogie” Mosson, and Shider delivers a smooth, soulful vocal performance. Hazel adds additional flavor to the track with his superb guitar playing. 

Standing On the Verge Of Getting It On is a highly impressive effort. The album showed the band members' continued growth as musicians. And it provided a great showcase for Hazel’s return to the Funkadelic fold. He displayed the full range of his talents on this album as a songwriter, musician, and vocalist. 

The album was produced by Clinton and released on the Westbound Records label. Music critics gave the album high marks, and Rolling Stone magazine ranked it #10 on its 25 Greatest Parliament-Funkadelic Albums list.

The collection performed well on Billboard’s R&B album chart, peaking at #13. However, it only managed to reach #163 on the Billboard 200 album chart.

The title track, “Standing On The Verge Of Getting It On,” had a solid performance on Billboard’s R&B singles chart, peaking at #27. And “Red Hot Mama” climbed to #73 on that chart.

The full personnel for Standing On The Verge Of Getting It On was Bernie Worrell (keyboards, vocals), Eddie Hazel (lead guitar, vocals), George Clinton (vocals, production), Cordell “Boogie” Mosson (bass, vocals), Garry Shider (rhythm and lead guitar, vocals), Ramon “Tiki” Fulwood (percussion and vocals), Ron Bykowski (lead and rhythm guitar), Fuzzy Haskins (vocals), Gary Bronson (drums), Calvin Simon (tenor vocals, congas), Tyrone Lampkin (percussion), Leon Patillo (piano), “Shady” Grady Thomas (vocals), Ray “Stingray” Davis (bass vocals), and Jimi Calhoun (bass). Clinton and Hazel contributed to the writing of all seven of the album's tracks. Bernie Worrell has a single songwriting credit for "Red Hot Mama."

The album’s incredible cover art was created by the late, great Pedro Bell.

Standing On The Verge Of Getting It On is available at Amazon

Related blog entries:

Review of Funkadelic's Hardcore Jollies

Review of Eddie Hazel's Album Game, Dames and Guitar Thangs

Sly & The Family Stone's Seven Best Songs

Groundbreaking singer, songwriter, producer, and multi-instrumentalist Sly Stone died on Monday, June 9, following a prolonged battle with COPD (chronic obstructive pulmonary disease) and other underlying health issues. He was 82. 

Sly was a true music visionary whose extraordinary gifts elevated him to superstardom. The funk pioneer was a key progenitor of psychedelic soul and the guiding force of Sly & The Family Stone, one of the most innovative and influential bands of the 20th century. Their sound was a dynamic fusion of rock, soul, gospel, pop, blues, and psychedelia. The band released some incredible music from the mid-'60s through the early ‘70s. And their shows were thrilling, transformative experiences for audiences. 

In honor of Sly, I’ve made up a list of my seven favorite Sly & The Family Stone tracks. Here’s the list in no particular order.

Dance To The Medley (1968)

Sly displayed his exceptional songwriting, production, and arrangement abilities on this exhilarating sonic odyssey. It’s broken into three sections, each one more amazing than the last. The track is a musical tour de force, featuring dizzying arrangements and impeccable musicianship from the band. It’s pure groove invention as only Sly & The Family Stone could do it.

Dance To The Medley at Amazon

Thank You (Falettinme Be Mice Elf Agin) (1969)

Sly & The Family Stone blew the minds of music lovers everywhere with this innovative funk classic. Larry Graham introduced his famous slap-and-pop bass technique on this groundbreaking groove. The syncopation is insane, and the arrangement is next-level. This track set off a new era in funk music and inspired countless bassists to start thumpin’ and pluckin’.

Thank You (Falettinme Be Mice Elf Agin) at Amazon

Everybody Is a Star (1969)

This majestic psychedelic-soul ballad showcases the band’s deep vocal talent. Sly, Freddie Stone, Larry Graham, and Rose Stone all deliver fantastic vocal performances. This is such a beautiful song, but sadly, underappreciated. Its message of equality and recognizing the inherent value of every individual still resonates today. 

Everybody Is a Star at Amazon

Sing a Simple Song (1968)

The funk level on this explosive track is off the charts. It’s pure fire from start to finish, featuring a superb arrangement. It’s one of the band’s signature songs, and they never failed to get audience members on their feet whenever they performed it live.

  

Sing a Simple Song at Amazon

Everyday People (1968)

This powerful plea for racial unity and peace is the perfect blend of soul, gospel, and pop. It showcases Sly’s remarkable ability to skillfully fuse genres. The song is brilliantly constructed and features a soul-stirring chorus. It’s one of the band’s biggest hits and is a timeless classic.

 

Everyday People at Amazon

If You Want Me To Stay (1973)

This track is an absolute gem. It’s beautifully arranged and performed and features a magnificent bass line. This bittersweet track has a soothing, soulful quality. There’s a hint of weariness in Sly’s impassioned vocals. It was one of his finest vocal performances–understated yet powerful. This sensational track stands up well after repeated plays.

 

  If You Want Me To Stay at Amazon

Thankful N’ Thoughtful (1973)

Sly counts his blessings on this introspective song. He expresses gratitude that he was able to overcome the destructive elements in his life, and he feels blessed that he has the opportunity to learn and grow from his mistakes. This is one of Sly’s most openly spiritual tracks, and his religious upbringing is apparent. Musically, the track is a great example of the band’s stripped-down post-Riot sound. It features a marvelous horn arrangement, cool wah-wah guitar licks, and some haunting funk-box beats (courtesy of the Maestro Rhythm King).

Thankful N' Thoughtful at Amazon

Related blog entries:

Sly Lives! (aka The Burden of Black Genius)

Review of Sly & The Family Stone's Fresh album

Review of Sly & The Family Stone's Stand!

"Pass The Peas" by The J.B.'s

The J.B.’s were one of the tightest funk crews in the game back in the day. They never failed to bring optimal groove goodness to their tracks. “Pass The Peas” was one of their biggest hits and a longtime favorite among funk lovers. This is deep down-home funk as only the J.B.’s could do it. It features a badass horn arrangement, dope bass, and a cold beat. Fred Wesley serves up a delectable ‘bone solo, and James Brown sweetens the groove with some soulful organ.

“Pass the Peas” was written by James Brown, John “Jabo” Starks, and Charles Bobbit. It was released in 1972 on Brown’s label, People Records, and included on the J.B.’s album Food For Thought. The song peaked at #29 on Billboard’s R&B singles chart and #95 on the Billboard Hot 100.

“Pass the Peas” has been sampled on 77 songs, including Eric B. & Rakim’s “I Ain’t No Joke,” Heavy D & the Boyz’s “The Overweight Lovers in the House,” De La Soul’s “Pass the Plugs” and MF Doom’s “Doomsday.” It has been featured on the soundtracks of the films Crooklyn (1994), Rush Hour 2 (2001), and Jerry Maguire (1996).

The full personnel for “Pass The Peas” was Fred Thomas (bass), Hearlon “Cheese” Martin (guitar), Jerone "Jasaan" Sanford (trumpet), John “Jabo” Starks (drums), James Brown (organ), Robert Coleman (guitar), Fred Wesley (trombone), Jimmy Parker (alto saxophone), Russel Crimes (trumpet), St. Clair Pinckney (tenor saxophone), vocals (the J.B.’s), spoken word introduction (Bobby Byrd and Bobby Roach). The song was produced and arranged by Brown.

James and the J.B.'s performing "Pass The Peas" live at The Apollo in 1972

"Pass The Peas" at Amazon

Related blog entries: 

"Doing It to Death" (aka "Gonna Have a Funky Good Time") Pts. 1 & 2 by Fred Wesley & The J.B.'s

"Gimme Some More" by the J.B.'s

“Start Me Up” by The Rolling Stones

The Rolling Stones rocked into the ‘80s with a vengeance. After nearly two decades, the legendary British rock band continued to be a major force in the music industry and showed no signs of slowing down. They were still selling out huge stadiums worldwide and burning up the charts with hits like “Emotional Rescue” (1980) and “Start Me Up” (1981). 

“Start Me Up” is a thrilling rock anthem featuring the Stones’ classic sound. Keith Richards ignites the track with an electrifying guitar riff. Ronnie Wood plays a layered variation of the Richards’ main riff to give it some extra punch. Mick Jagger delivers an exhilarating, high-adrenaline vocal performance. Charlie Watts’ powerful drumming provides a strong foundation for the song, and Bill Wyman lays down a smashing bass line. The sexually charged lyrics are quintessential Stones.

“Start Me Up” was co-written by Jagger and Richards. It was originally a reggae song and had the working title “Never Stop.” It was first recorded in March 1975 during the Stones’ sessions for their album Black and Blue, but was put aside. It was later re-recorded with a completely different arrangement during the sessions for the Some Girls album in January and March of 1978. After many takes, the song was shelved. 

It resurfaced in 1981 when the Stones needed more material for their Tattoo You album. They looked through their archives to see if there were any forgotten tracks that they could use for the upcoming album. During the search, they found two takes of the song that had a more rock feel among the 70 or so reggae versions. The band refashioned it as a hard-rock song and retitled it “Start Me Up.” 

In an excerpt from Martin Elliott’s book The Rolling Stones: Complete Recording Sessions 1962–2012, Keith Richards discusses retrieving the song from the archives and how the band retooled it to be the rock classic that we know today: 

Nobody remembered cutting it. But we leapt on it again. We did a few overdubs on it, and it was like a gift, you know? One of the great luxuries of the Stones is we have an enormous, big can of stuff. I mean what anybody hears is just the tip of the iceberg, you know. And there is vaults of stuff. But you just have to have the patience and the time to actually sift through it.

“Start Me Up” was the lead single from the Stones’ album Tattoo You. The song was released on August 14, 1981. It was a huge hit, rising to #2 on the Billboard Hot 100 (where it remained for three weeks), and it sat atop Billboard’s Top Rock Tracks chart for 13 weeks, a record that stood for 13 years. The song peaked at #7 on the UK singles chart. Additionally, it topped the charts in Australia and made the top 10 in several other countries. 

Microsoft used “Start Me Up” in a big commercial campaign to launch its Windows 95 operating system. Microsoft paid the Stones a reported $3 million to use the song. This marked one of the first times that a hit song was used in a major marketing campaign, and it was the first TV ad for a Microsoft product. It was also the first time that the Stones permitted one of their songs to be used in an advertising campaign. 

“Start Me Up” was featured on the soundtracks for the films The Fan (1996) and Getting Even with Dad (1994). It was also played in the trailer for the 2024 film Transformers One. And it was featured on the soundtrack for the video game Karaoke Revolution Party, released in 2005. It has been sampled on six songs. 

Rolling Stone magazine ranked “Start Me Up” as the 8th Best Sports Anthem. Digital sports and entertainment news service Yardbarker included “Start Me Up” on its list of the 25 greatest stadium anthems of all time. The Stones performed the song during the Super Bowl XL Halftime Show on February 5, 2006.

The music video for “Start Me Up” was directed by filmmaker Michael Lindsay-Hogg, who had directed groundbreaking videos for the Beatles, the Who, and the Rolling Stones in the ‘60s. The video is pretty simple and straightforward, but effective. It has the Stones performing the song against a black background with Jagger doing his signature jerky dance moves and wild facial expressions. “Start Me Up” was serendipitously released shortly after the launch of MTV. (It was launched on August 1, 1981.) The runners of the new 24-hour music channel were eager to air a professionally made video of a hit song by a legendary rock band. It was quickly put into heavy rotation on the channel. This helped the Stones reach a whole new audience of young listeners who may not have been familiar with the band’s earlier works from the ‘60s and ‘70s. So it was a big win for both MTV and the Stones. 

“Start Me Up” is the Stones’ biggest ‘80s hit and a longtime staple of their live shows. And it’s among the top rock anthems of the ‘80s.

The Stones performing "Start Me Up" at Roundhay Park in Leeds, England on July 25, 1982

Microsoft Windows 95 commercial with "Start Me Up"

"Start Me Up" at Amazon

Related blog entry: 5 Fantastic Covers of The Rolling Stones' "(I Can't No) Satisfaction"

“Get Off” by Foxy

Latin dance/disco outfit Foxy was formed in Hialeah, Florida, in 1976. They were the house band for the Miami-based disco label T.K. Records. The founding members were Ismael Angel Ledesma (lead vocals, guitar), Arnold Paseiro (bass), Charlie Murciano (keyboards), Richie Puente Jr. (percussion), and Joe Galdo (drums). Most of Foxy's members hailed from Cuba, with one from New York City. In addition to their house-band duties at T.K., the talented crew performed at various clubs to supplement their income. The band released their self-titled debut album in 1976. They released three subsequent studio albums and one live album before breaking up in 1980.

Foxy are best known for their 1978 disco smash “Get Off." The rousing, shamelessly libidinous party jam filled countless dancefloors back in the day. Paseiro's deliciously funky bass line drives this high-powered dance groove. And Galdo’s dynamic drumming keeps the funk factor high throughout the song. Ledesma serves up a killer talkbox solo on guitar and also ably handles lead vocals. Female vocal trio Wildflower’s spirited backing vocals significantly elevate the track’s excitement level and party vibe. The song also boasts an electrifying chorus.

“Get Off” was co-written by Ledesma and Carl Driggs, a vocalist and percussionist with Foxy. It was the title track from the band’s second album, Get Off (1978), released on Dash Records, a subsidiary of T.K. Productions, Inc. It topped Billboard's R&B singles chart, peaked at #9 on the Billboard Hot 100, and reached #18 on Billboard’s dance chart.

“Get Off” has been sampled on 24 songs, including Beastie Boys' “Shake Your Rump,” 2 Live Crew’s “Take It Off,” and Stacey Q’s “Two of Hearts (Dance Mix).” It was featured on the soundtracks for the films Roll Bounce (2005), Set It Off (1996), and Celtic Pride (1996). It was also featured in the TV series Scandal (season 5, episode 15, 2016) and Shasta McNasty (season 1, episode 1, 1999).

In 1979, Foxy scored another hit with the bumpin’ track “Hot Number.” The song peaked at #4 on Billboard’s R&B singles chart, and reached #21 on the Billboard Hot 100 and #26 on Billboard’s dance chart.

After Foxy disbanded in 1980, Ledesma returned to doing session work and producing tracks. He formed the dance-rock band OXO in 1983. He recruited guitarist Orlando Nuñez, bassist Frank Garcia, and drummer Freddy Alwag for the band. They had a top-30 hit with the pop-rock song "Whirly Girl," written and co-produced by Ledesma. It was released in February 1983 on Geffen Records. It peaked at #28 on the Billboard Hot 100. OXO broke up shortly after the song's release due to internal conflicts within the band and disputes between Geffen and management.

In 1986, Ledesma formed the Latin freestyle trio Company B. The group consisted of Lori L (Ledesma's wife), Charlotte McKinnon, and Susan Gonzalez Johnson. Ledesma wrote and produced their biggest hit, "Fascinated," which topped Billboard's dance chart and spent eight weeks in the Billboard Hot 100's Top 40, peaking at #21. The song also performed well on the charts in the Netherlands, reaching #2 on the Dutch Single Top 100. It's now regarded as a freestyle classic. Company B scored a few more hits on the dance charts. Ledesma produced and arranged all five of their albums. The trio has undergone a few personnel changes over the years. They released the club track "Let's Just Dance" in 2022. 

Ledesma also released two solo albums. He dropped his self-titled debut solo album on T.K. Records in 1979. The collection featured the seductive dance track "Don't Stop." The 12" release of the single charted at #39 on Billboard's dance chart. Ledesma released his second solo album, On This Corner, in 1986 on Geffen/Warner Bros. Records. Additionally, he played guitar on ABBA's 1979 song "Voulez-Vous," and he's credited on Miami Sound Machine's international hit "Bad Boy." Ledesma was also involved in several other music collaborations with notable artists such as Latimore and Fred Schneider. He's known professionally as Ish Ledesma.

Foxy performing "Get Off" at the Viña del Mar International Song Festival in Chile, 1980

Valerio Lazarov-directed music video of Foxy performing "Get Off" on the Spanish TV program Sumarísimo in 1978

"Get Off" at Amazon