“Automatic” by The Pointer Sisters

The Pointer Sisters landed one of their biggest hits with the funky, synth-driven “Automatic,” released on January 13, 1984. It features Ruth Pointer on lead vocals, effectively showcasing her rich, deep contralto. The track is an exhilarating mix of new wave, funk, and soul. It boasts marvelous synth work, tight rhythm guitar riffs, and a powerful chorus. Anita and June Pointer's strong backing vocals keep the groove's energy at maximum. 

The song is about all-consuming infatuation. The narrator is helplessly infatuated with someone to the point that she has no control and is unable to function whenever this person is around. She short-circuits and can only utter incoherent gibberish. The narrator is analogous to a controlled automaton whose only function is to cater to the whims and needs of her object of desire. The track’s dynamic electro groove fits this robot theme extremely well. 

“Automatic” was co-written by Brock Walsh and Mark Goldenberg. It was the second single from the Pointer Sisters’ triple-platinum tenth studio album, Break Out, released in November 1983. The song peaked at #5 on the Billboard Hot 100. It reached #2 on both Billboard’s R&B singles chart and Billboard’s Dance Club Songs chart, and it rose to # 36 on the Billboard Adult Contemporary chart. The song also enjoyed major chart action internationally. It was the group’s biggest UK hit, spending two weeks at #2 on the UK singles chart. It also performed well on the charts in New Zealand (#8), the Netherlands (#6), Ireland (#1), Belgium (#5), Australia (#15), and Canada (#17).

“Automatic” was the Pointer Sisters’ first Top 40 hit on the Billboard Hot 100 to feature Ruth Pointer on lead vocals. The song earned the group a Grammy for “Best Vocal Arrangement for Two or More Voices” at the 1985 Grammy Awards. Additionally, it ranked at number 94 on Billboard’s list of “100 Greatest Girl Group Songs Of All Time.” In her 2016 memoir Still So Excited!: My Life as a Pointer Sister, Ruth Pointer discussed how “Automatic” was selected for the Break Out album:

"Automatic" was the final song chosen for Break Out: "We were taking a break from recording in the office of Jim Tract, who was [Break Out producer] Richard Perry’s right-hand man, and Jim mentioned that he had a stash of tapes we might want to listen to [while on] a breather...We all sat up straight when we first heard ['Automatic'] and told Richard we wanted to include it on the album. 'Okay,' he said, 'But who would sing the low part?' 'Are you kidding me?' I said, 'I'll do the low part!'”

“Automatic” has been sampled on 15 songs, per WhoSampled. It has been featured in the TV series High Fidelity ( season 1, episode 8, 2020), Beat Shazam (season 2, episode 8, 2018), Pose (season 1, episode 8, 2018), The Tonight Show Starring Jimmy Fallon (season 4, episode 16, 2016), and Scream Queens (season 1, episode 1, pilot, 2015). It has also been featured on the soundtracks of the films Going In Style (2017), Spud 2: The Madness Continues (2013), and Ricochet (1991); and soundtracks for the TV movies Looking (2016) and The Return of The Six-Million-Dollar Man and The Bionic Woman (1987). Additionally, “Automatic” was featured on the soundtrack of the 2002 action-adventure video game Grand Theft Auto: Vice City.

Here’s the full personnel for “Automatic”: Ruth Pointer (lead vocals), Anita and June Pointer (backing vocals), Eddie Watkins Jr. (bass), Brock Walsh (drum machine programming, synthesizers), Dennis Herring (guitar), Mark Goldenberg (bridge guitar), Paul Fox (Emu-Emulator), John Van Tongeren (Minimoog, synthesizers), Howie Rice (synthesizers) and Stephen Mitchell (synthesizers).

The Pointer Sisters performing "Automatic" live in Paris in 1985

"Automatic" available at Amazon

Related blog entries:

"You Gotta Believe" by The Pointer Sisters

"Free Me From My Freedom/Tie Me To a Tree (Handcuff Me)" by Bonnie Pointer

"Peanut Butter" by Twennynine, featuring Lenny White

In the 1970s, acclaimed drummer Lenny White was a member of the influential jazz fusion band Return to Forever, led by pianist and composer Chick Corea. White is widely considered one of the founding fathers of jazz fusion due to his pivotal role in Return to Forever and his contributions to jazz giant Miles Davis’ groundbreaking album Bitches Brew (1970). White has also worked with jazz fusion pioneers such as Herbie Hancock and Jaco Pastorius. The three-time Grammy winner is renowned for his innovative drumming style, characterized by powerful yet fluid and complex rhythms that have helped raise the bar for the genre. 

Following his departure from Return to Forever in 1977, White began exploring other music styles beyond jazz fusion. In 1979, he formed the R&B/funk band Twennynine, much to the surprise (and for some disappointment) of many jazz enthusiasts. The band’s sound was much different from the complex jazz fusion workouts Return to Forever were known for. It was straightforward funk and R&B. Twennynine’s biggest hit was “Peanut Butter,” a loopy, energetic funk track featuring an irresistible synth bass line and a bumpin’ beat. The talented crew brings style and flavor to this fun, infectious groove, which boasts a cool arrangement, playful lyrics, and a funky piano solo.

“Peanut Butter” was written by jazz-funk pianist, singer, songwriter Don Blackman, who played the synth bass line and piano solo on the track. It was a single from Twennynine’s debut album, Best of Friends, released in October 1979 on Electra Records. The song peaked at #3 on Billboard’s R&B singles chart and rose to #83 on the Billboard Hot 100. The album was co-produced by Lenny White and Larry Dunn of Earth, Wind & Fire. It peaked at #15 on Billboard’s R&B album chart. “Peanut Butter” has been sampled on three songs. 

The full lineup of players for Best of Friends was Don Blackman (clavinet, electric piano, organ, piano [acoustic], synthesizer, vocals), Barry “Sonjohn” Johnson (bass, vocals), Lenny White (drums, percussion, synthesizer [& Bat On Wall]), Eddie Martinez (guitar), Denzil Miller (keyboards), Nick Moroch (lead guitar, glockenspiel), Paulinho da Costa (percussion), backing vocals (Barry Johnson, Dee Dee Bridgewater, Donald Blackman, Googie Coppola and Lynn Davis), horns (Andrew Woolfolk, Robert Bryant, Don Myrick, Elmer Brown, Garnett Brown, George Bohanon, Louis Satterfield, Marilyn Robinson, Michael Davis and Sidney Muldrow).

Twennynine released two more albums, Twennynine with Lenny White (1980) and Just Like Dreamin’ (1981), before disbanding in 1983, after which Lenny White returned to jazz session work and producing. He produced Chaka Khan’s Grammy-nominated jazz album Echoes of an Era (1982), and he and EWF’s Maurice White co-produced R&B/jazz fusion group Pieces of a Dream’s fourth studio album Joyride (1986). Lenny dropped his third solo album, Present Tense, in 1995. The album is a stellar collection of jazz-fusion and jazz-funk tracks. It was met enthusiastically by jazz-fusion lovers and music critics, who gave it high marks.

Presently, White is an adjunct faculty member at NYU Steinhardt, where he mentors and teaches students. He’s also a faculty member at The School of Jazz and Contemporary Music in New York.

"Peanut Butter" at Amazon

“Love Is in Control (Finger on the Trigger)" by Donna Summer

After Donna Summer’s foray into new wave and rock on her 1980 album, The Wanderer, she returned to her R&B and dance-music roots with her self-titled 10th studio album, released on July 19, 1982. The Quincy Jones-produced collection offers a satisfying selection of R&B, dance, pop, post-disco, and funk. The album’s lead single is the electrifying synthfunk track “Love Is in Control (Finger on the Trigger).” Summer delivers a superb vocal performance. The song showcases her considerable range as a singer, as she effortlessly transitions from her soulful lower tone to her higher register, lighting up the chorus with her fiery falsetto. This hot dance jam is masterfully produced and arranged, featuring a monstrous synth bass line, an explosive chorus, and a splendid sax solo from Ernie Watts. It also boasts a fantastic horn arrangement and some great rhythm guitar parts. 

The song is about taking ownership of your emotions and desires and maintaining a sense of independence and self-awareness in romance. The line in the chorus, “Love is in control,” speaks to the sense of empowerment that comes with taking control of your heart and desires. Now that the song’s narrator has found real love, her life has changed, and her “finger is on the trigger” as she’s ready to jump in and fully commit to this person with no reservations. 

“Love Is in Control (Finger on the Trigger)” was written by Quincy Jones, Rod Temperton, and Merria Ross. It was released in June 1982 on Geffen Records. The song performed well on the charts, peaking at #10 on the Billboard Hot 100, #4 on Billboard’s R&B singles chart, and #3 on Billboard's Dance Club Charts. It also enjoyed major chart action in other parts of the world, landing in the top 10 in many countries, including Finland (#3), the Netherlands (#6), Norway (#3), South Africa (#7), and Switzerland (#4). And it charted in the top 20 and several other nations. The song earned Summer a Grammy nomination for Best Female R&B Vocal Performance at the 25th Annual Grammy Awards in 1983.

“Love Is in Control (Finger on the Trigger)” was featured on the soundtracks of the films Magindanao (1982) and Lost in America (1985). And it was featured in an episode of the animated sitcom Bob’s Burgers (season 5, episode 4, 2014). Additionally, it was sampled on “Figga Trigga” by The Tabledancers. Sheena Easton covered the song for her 2000 album Fabulous. She released it as the album’s second single in 2001.

Here’s the full personnel for “Love Is in Control (Finger on the Trigger)”: Donna Summer (lead and backing vocals), Leon Ndugu Chancler (drums), Michael Sembello (guitar), Ernie Watts (tenor saxophone solo), Greg Phillinganes (synthesizers, synth bass), Paulinho Da Costa (percussion), Michael Boddicker (synthesizer [Polymoog] Vocoder), backing vocals (Donna Summer, Howard Hewitt, James Ingram and Phillip Ingram), and the horn section consisted of Bill Reichenbach Jr. (trombone), Gary Grant (trumpet), Ernie Watts (saxophone), and Jerry Hey (trumpet). Hey was also responsible for the song’s excellent horn arrangement.

The official music video for  “Love Is in Control (Finger on the Trigger)”

Donna Summer performing "Love Is in Control" during her 1983 televised concert titled Donna Summer: A Hot Summer Night

"Love Is in Control (Finger on the Trigger) available at Amazon

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

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

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

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

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

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

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

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

"Brown Sugar" video

Sugah Daddy - D'Angelo and The Vanguard

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

"The Line"

“ConFunkShunizeYa” by Con Funk Shun

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

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

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

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

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

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

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

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

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

Secrets is available at Amazon

“Party Up In Here" by The Brides of Funkenstein

Photo by Richard E. Aaron 

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

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

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

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

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

"Party Up In Here" is available at Amazon

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"Disco To Go" By the Brides of Funkenstien: Jumbo-Sized Funk

The Brides of Funkenstein Perform "Birdie" Live In Houston

"Nappy" By The Brides of Funkenstein

"Streetwalker" by Michael Jackson

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

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

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

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

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

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

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

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

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

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

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

"Streetwalker" is available at Amazon

Related blog entries:

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

"Cheater" by Michael Jackson