Saturday, December 20, 2014

"Ball of Confusion (That’s What The World Is Today)" by The Temptations

The Temptations reflect on the troubled state of the world on their powerful political track “Ball of Confusion (That’s What The World Is Today),” released in 1970. It was written by the legendary Motown songwriting/production team of Norman Whitfield and Barrett Strong. This hard-hitting slice of psychedelic soul is among the best of the Whitefield/Strong compositions, which is saying a lot considering their sterling oeuvre. The track effectively captures the chaos, uncertainty, fear and collective anger during that period. The instrumentation—provided by the Funk Brothers—is tremendous. Bob Babbitt sets the tone with a foreboding bass line, giving the feeling of a ticking time bomb counting down to detonation. It’s one of the most iconic and recognized bass lines in popular music.

Additionally, the track is filled with ferocious horn lines and trippy sound effects provided by guitarist Dennis Coffey using Echoplex.  It also contains some marvelous harmonica work from Mike Campbell. And the Temps bring tons of soul and passion to their vocals. Lead singer Dennis Edwards really shines on this track. His gritty vocal performance is filled with righteous anger and conviction, and his rapid-fire delivery on some of the verses gives the song a strong sense of urgency. The song touches on many of the burning sociopolitical issues of the early 1970s: rising unemployment, segregation, drug addiction, civil unrest, racism, corrupt politicians, gun control and war. Sadly, most of these issues are still big concerns today, making the song as timely and relevant as ever.

“Ball of Confusion (That’s What The World Is Today)” had a very strong showing on the charts, peaking at #2 on the U.S. R&B single charts and #3 on the pop charts. It also charted in other parts of the world, climbing to #7 on the UK singles charts and reaching #5 on the singles chart in Norway. The song was featured on the Temptations’ 1970 album Greatest Hits, Vol. 2.

The track has been covered by a slew of artists from various genres. Some of the notable artists who have covered the song include Tina Turner (with the B.E.F.), Love and Rockets, The Undisputed Truth, Duran Duran, Anthrax and the Neville Brothers. And Whoopi Goldberg performed it in the 1993 comedy Sister Act 2: Back in the Habit.

The lineup for the Temptations at the time of the song’s release was Dennis Edwards, Eddie Kendricks, Paul Williams, Melvin Franklin and Otis Williams.


Ball Of Confusion (That's What The World Is Today) at Amazon

Monday, December 15, 2014

Top 14 "Crazy" Songs

Time to get wild and crazy! I’ve made a list of my favorite songs with the word “crazy” in the title. Check ‘em out:

14) Crazy Chicken – Graham Central Station (1977)

Larry Graham and GCS get busy with some fowl funk on this percolating, irresistible groove. It’s from the band’s fifth studio album Now Do U Wanta Dance (1977).

Crazy Chicken at Amazon


13) My Ladies Run Me Crazy – The Ohio Players (1976)
This loose funk groove is a track from the Ohio Players’ excellent Contradiction album. The track features tight horn lines and some badass drumming from James “Diamond” Williams.

12) I’m Crazy ‘Bout My Baby – Marvin Gaye (1963)
Marvin Gaye laid down some of his patented smooth soul on this this catchy R&B/pop cut. The song was the B-side of the Motown legend’s hit “Can I Get a Witness.” 

 
I'm Crazy 'Bout My Baby at Amazon



11) Crazy – Seal (1990)
This atmospheric electronic/pop/soul track was Seal’s big breakthrough hit and put him on the map in the U.S. music market. The British singer’s vocals are soothing, soulful and reassuring; there is a richness and depth in Seal’s voice that just works so well on this track. “Crazy” peaked at #7 on the Billboard Hot 100 singles chart and #2 on the UK singles chart. It topped the singles charts in Belgium and several other countries. It was the lead single from Seal’s self-titled debut album, released in 1991.


Crazy at Amazon


10) Crazy on You – Heart (1976)
Legendary Seattle rock band Heart scored their first hit single with this dynamic, mesmerizing rock track. The song is noted for its unique mix of electric and acoustic guitars. It boasts a cool quasi-classical acoustic guitar intro from Nancy Wilson. And her sister, Ann Wilson, delivers a searing lead vocal performance. This track nicely showcases Ann’s considerable vocal power. Lead guitarist Roger Fisher provides the memorable main electric guitar part, which is one of the most instantly recognizable guitar riffs in rock music. “Crazy on You” was written by the Wilson sisters and is from the band’s debut album Dreamboat Annie (1976). The track peaked at #35 on the Billboard Hot 100 singles chart. It’s one of Heart’s signature songs and still receives heavy airplay on classic rock stations.


Crazy On You at Amazon

9) Crazy Train – Ozzy Osbourne (1980)
 Heavy metal pioneer Ozzy Osbourne burned up the airwaves with this powerful, high-voltage track. The Ozzman delivers a rousing vocal performance, and Randy Rhoads’ fantastic guitar work keeps the rock factor high. And the hard-driving main guitar line is lauded as one of rock’s most iconic guitar riffs, and it’s also for noted for using the full minor scale. “Crazy Train” was the lead single from Ozzy’s solo debut album Blizzard of Ozz, released in 1980.  The song climbed to #9 on the Billboard Mainstream Rock chart in 1981 and peaked at #49 on the UK singles chart.

Crazy Train at Amazon


8) Crazy Little Thing Called Love - Queen (1979)
Freddie Mercury channels a bit of Elvis on this irresistible rockabilly track. In addition to singing lead vocals, Mercury plays the acoustic rhythm guitar part. And Brian May keeps things rockin’ with some sweet rockabilly licks, and John Deacon anchors the groove with his solid bass playing. The track was the lead single from Queen’s multiplatinum-selling album The Game (1980). The track became the band’s first #1 single on the U.S. Billboard Hot 100 chart. It also topped the charts in several of other countries, including Australia and Canada.

Crazy Little Thing Called Love at Amazon


7) Crazy in Love – Beyoncé, ft. Jay-Z (2003)
Beyoncé kicked off her solo career in style with this infectious slice of R&B/pop. The song has an indelible horn-driven hook, which was sampled from the Chi-Lites’ 1970 song “Are You My Woman? (Tell Me So).” The celebratory horns fit nicely at the intro, sounding as if they’re heralding Beyoncé’s arrival as an exciting new artist on the R&B and pop scene in the early 2000s. The young singer/performer shows off her impressive vocal chops here, and future-hubby Jay-Z lends the track a bit of street cred with his smooth rap verses.
The song shot to the top of the U.S. Billboard Hot 100 singles chart in 2003, where it remained for eight weeks. It ended up being one of the best-selling R&B singles of all time, with sales of more than eight million copies worldwide. It’s also recognized as one of the top songs of the 2000s by a number of noted music publications. British music publication New Musical Express (NME) named “Crazy in Love" the #1 song of the decade (2000-2010), and it placed at #3 on Rolling Stone’s 100 Best Songs of the 2000s. The song also won two Grammys (Best R&B Song and Best Rap/Song Collaboration). It was the first single off  Beyoncé's multiplatinum-selling solo debut album Dangerously in Love (2003). And the song’s music video is pretty iconic in its own right.

Crazy In Love at Amazon


6) Crazy – Mud (1973)
English glam rock band Mud thrilled fans with this dark, mysterious track. The song has a nice fuzz bass part and some quality guitar work from Rob Davis.  And Les Gray’s haunting lead vocals add to the track’s sinister vibe. “Crazy” peaked at #12 on the UK charts and was the first of a succession of top-20 UK hits for Mud.


Crazy on vinyl at Amazon


5) Crazay – Jesse Johnson, Ft. Sly Stone (1986)
Guitarist/songwriter Jesse Johnson teamed up with music legend Sly Stone for this bass-poppin’, synth-filled funk party. The former Time member and Sly really gel on this high-energy groove. Sly’s voice is in top form here, and he really belts out the funk on this cut. The song was the lead single from Johnson’s second solo album Shockadelica (1986). It had quite an impressive showing on the charts, peaking at #2 on the U.S. R&B singles charts and #53 on the pop  singles chart.

Crazay at Amazon


4) Still Crazy After All These Years - Paul Simon (1975)
This beautiful, poignant tune is one of Paul Simon’s most beloved songs. The song’s narrator quietly reflects on his life as he approaches middle age. He’s set in his ways and no longer feels the need to try to change in order to please anyone else. The song has a bittersweet quality and sentiments that many can relate to.  “Still Crazy After All These Years” is the title track from Simon’s 1975 Grammy-winning album. The song peaked at #40 on the Billboard Hot 100 in the U.S. and climbed all the way to #5 on Billboard’s Adult contemporary chart.


Still Crazy After All These Years at Amazon

3) I’ll Go Crazy  - James Brown & the Famous Flames (1960)
This early James Brown classic was released five years before he blessed the music world with The Funk. The young Mr. Dynamite’s musical gifts are in clear evidence on this hard-groovin’ R&B cut, and the Famous Flames show why they got their name with some soulful backing vocals. The track was written by Brown and was his fourth R&B hit, peaking at #15 on the R&B charts. It was also the first single from his landmark album Live at the Apollo, which was released in 1963. 

I'll Go Crazy at Amazon


2) Crazy – Gnarls Barkley (2006)
In 2006, dynamic musical duo Gnarls Barkley (Cee-Lo Green and Danger Mouse) dropped this brilliant track, which is about the potential positive aspects of losing your mind and the freedom and peace it can bring.  “Crazy” was the first single from the duo’s critically acclaimed debut album St. Elsewhere (2006). The track’s huge success marked one of those rare occasions in which a truly unique song became an international smash. The song topped the singles charts in several countries and peaked at #2 on the U.S. pop charts. And it won a Grammy for Best Alternative/Urban performance at the 2007 Grammy Awards. It also topped Rolling Stone’s 2009 list of the “100 Best Songs of the Decade” and placed at #32 on NME’s list of the “150 Best Tracks of the Past 15 Years.” And it has made a ton of other best-song lists from major music publications.


Crazy at Amazon


1) Let’s Go Crazy – Prince & the Revolution (1984)
Prince showed the world that he could rock with the big dogs on this galvanic rock/funk transatlantic smash. The track features a monster rock-guitar riff and a face-melting solo served up by His Royal Badness.  It was the second single from Prince’s phenomenally successful Purple Rain album and was featured in his blockbuster film of the same name. The song topped both the pop and R&B singles chart in the U.S. in 1984. It’s one of the Purple One’s most famous tracks and a crowd favorite at his concerts.



Let's Go Crazy at Amazon

Tuesday, December 9, 2014

Yo Mama’s Big Fat Booty Band Blowing Up The Funk Scene

Yo Mama’s Big Fat Booty Band (YMBFBB) is one of the baddest funk outfits on the scene at the moment. The Asheville, NC-based band has been killing it for several years now with their dynamic sound and electrifying live shows. YMBFBB was formed in 2002 and quickly established themselves as a great live act who brought massive doses of funk and excitement to each of their performances. And the band has shared the stage with esteemed groove masters such as Parliament-Funkadelic, Ivan Neville’s Dumpstaphunk, Galactic, Dirty Dozen Brass Band, Bootsy Collins and Maceo Parker.

 In 2007, the Booty Band released their debut album, Now You Know. The album was well-received by critics and music lovers and was named Album of the Year by Home Grown Music Network. The network also crowned YMBFBB its Band of the Year. The band released their gritty second album, Doin’ It Hard, in 2012, which also received high praise from music critics and fans. The collection was followed up by the extra funkified remix album Re-Doin’ It Hard.

Over the years, YMBFBB underwent a few personnel changes before becoming the super-tight unit  they are today. The members of the talented quintet are the following: Mary Frances, aka “Mama Funk” (keyboards, vocals); Al Al “Sweet Nasty” Ingram (bass, vocals); John Paul “Smoke Machine” Miller (guitar, vocals); Derrick “Dr. Ock” Johnson (trombone, vocals); and Lee “Insta Funk” Allen (drums).

The band has a distinct and unique sound that encompasses funk, soul, rock and old-school rap. And they have a pretty eclectic selection of influences, which include P-Funk, James Brown, Red Hot Chili Peppers, Dr. Dre, Frank Zappa, Bootsy, OutKast, Poets of Rhythm, Sly Stone, Snoop Dogg and Fishbone, among others.

 In October of last year, Yo Mama’s Big Fat Booty Band dropped their most recent album, titled ONWARD! The eight-song album is a marvelous collection of funk, rock, soul and rap. One of the album’s highlights is the Middle Eastern-tinged rock/rap cut “Precious Moments.” The track is superbly arranged, with powerful horns and keyboards and some sweet guitar riffs. And Lee Allen tears it up on the drums.

“Sanchez” is a sizzling, high-octane instrumental with a cinematic feel. I can imagine this full-throttle groove being used as background music for a high-speed car chase scene in an action flick. The infectious “Ante Up,” is another strong cut, which is elevated by Mama Funk’s soulful, sultry lead vocals. And “Trunk Fallin’ Off” is an irresistible hip-hop track that boasts a sick beat and a dope vocal hook from Mama Funk. And Al Al Ingram and JP Miller add to the booty-shaking festivities with their humorous rhymes.

Additionally, the band gets smooth and mellow on “Let Me In,” which features some stellar fret-burning from Miller. And “Juices and Berries” is a badass retro groove with percolating wah-wah guitars and blazing organ. Ingram accentuates the groove with a mackin’ bass line, and Derrick Johnson delivers the heavy-duty funk on his trombone. 

ONWARD! is a very strong and consistent effort; all the tracks are quality and nicely complement one another. The collection shows the band further expanding their singular funk sound. The guest musicians on the album are Greg Hollowell (saxophone on all the tracks and flute on “Reasons”), Mike Dillon (percussion on “Precious Moments”) and Cactus (aka “Agent 23”) wrote lyrics for “Precious Moments.”

Yo Mama’s Big Fat Booty Band have been busy bringing their powerful brand of funk to appreciative audiences across the U.S.  The band plays an average of 150 shows per year and has a bunch of tour dates lined up for this month. Their next show is scheduled for Thursday, December 11 at Holy Mountain in Austin, Texas.  Check out YMBFBB's website to learn more about the band and get tour info.




Live Version of  "Ante Up"


Onward! at Amazon

Monday, November 24, 2014

"Strollin’ With Nolen" by Jimmy Nolen

Acclaimed axeman Jimmy “Chank” Nolen showed off his prodigious guitar skills on this smokin’ rhythm-and-blues instrumental. This jumpin’ groove no doubt had folks cuttin’ a mean rug way back in the day. And you can’t go wrong with a hot sax solo. Nolen wrote and arranged the track, which was released in 1956 on Federal Records, a subsidiary of Cincinnati-based King Records.

Nolen is widely celebrated in the funk community as one of the genre’s most influential guitarists. During his long tenure as lead guitarist for James Brown’s band, he played on a number of seminal tracks that helped launch funk music—which became an important and integral part of contemporary music. Nolen is credited with inventing the chicken-scratch guitar lick, a signature of the rhythm-driven funk sound. He played his famous chicken-scratch lick on Brown’s 1965 classic “Papa’s Got a Brand New Bag,” which is considered by many as the first funk record.  Due to his creation of the chicken-scratch lick and his pivotal contributions to a slew of influential funk tracks, Nolen is known as the “Father of Funk Guitar.”

Nolen was born on April 3, 1934 in Oklahoma City, Oklahoma. He became interested in music at a very young age and began playing the violin when he was nine. And after listening to records by legendary blues guitarist T-Bone Walker, he picked up the guitar at age14. Before long, Nolen was impressing audiences at local clubs with his considerable guitar chops. He was eventually discovered by blues singer Jimmy Wilson, who caught him playing at a club in Tulsa. Wilson quickly recruited the talented young guitarist for his band. Shortly thereafter, Wilson brought Nolen to Los Angeles, where he began playing guitar for trumpeter Monte Easter and tenor saxophonist Chuck Higgins.  During this period, Nolen was also cutting his own tracks on Federal Records, including “Strollin’ With Nolen,” “It Hurts Me Too” and “Movin’ On Down The Line.”

Nolen joined Johnny Otis’ band in 1957, replacing guitarist Pete “Guitar” Lewis. Nolen played on Otis’ R&B smash “Willie and the Hand Jive,” released in 1958. Nolen left Otis’ band in 1959 to form his own R&B outfit, called the Jimmy Nolen Band. The band gigged around California and Arizona’s “chitlin circuit,” playing small clubs and ballrooms. And the band backed several big-name blues acts who came through Cali. The band only cut one track in the five years that they were together, as their key purpose was to make a name for themselves as a great backing band. By the early ‘60s, Nolen was backing blues harp legend George “Harmonica” Smith and leading his own band.

Nolen’s soulful, gritty playing style would eventually catch the attention of James Brown. He joined Brown’s band 1965 and helped the legendary artist/performer make music history by playing on tracks that ushered in a new dynamic sound known as funk. Nolen remained with Brown for pretty much the remainder of his career, save for a two-year period (1970-1972) in he which played with Maceo & All the King’s Men; Brown’s controlling, mercurial behavior and tightfistedness got to be too much for most of the original members, which resulted in a mass defection in 1970. However, Nolen rejoined Brown’s band in early ’73, where he would remain until his death on December 18, 1983. 

The stoic axeman quietly made his mark on the music world. His contributions to funk are undeniable, and his influence as a guitarist is massive.



The Rhythm & Blues Years CD by Jimmy Nolen at Amazon

Friday, November 14, 2014

Review of Brick’s Self-Titled Second Album

In 1977, R&B/funk/jazz band Brick followed up their successful debut album, Good High (1976), with this surprisingly strong effort. The Atlanta-based quintet easily sidestepped the dreaded sophomore slump with this winning collection of R&B, funk, jazz, dance and pop. It proved that the success of Good High was no fluke, and Brick was definitely a band to be reckoned with. The LP is chock-full of great tracks that make for a very cool and enjoyable listening experience.

One of the album’s biggest highlights is the sunny, upbeat cut “Ain’t Gonna Hurt Nobody.” This breezy mix of soul, pop and jazz is pure sonic joy. Its irresistible chorus will have you singing along. Also, Jimmy Brown serves up a superb trombone solo, and axman Regi Hargis  Hickman sweetens the groove with his dope guitar work. The song saw some significant chart action, climbing to #7 on the U.S. R&B singles chart.

And “Dusic" is just incredible. The powerful groove is driven by Ray Ransom’s hypnotic and extremely funky bass line. The song’s arrangement is tremendous: tight horns, phat beat, bumpin’ Hammond keyboard—all complemented by the band’s signature unison falsetto vocals. It also has a terrific bridge, which sounds like the band stopped off at a funk station to fuel up on some more funk before heading back into the main groove. Additionally, Brown augments the funk with a sick flute solo. Listening to “Dusic” today, it still sounds as original and fresh as it did when it first hit the airwaves more than 30 years ago. It exemplifies Brick’s singular sound, distinguishing them from other R&B and funk bands during that period. The track performed extremely well on the charts—peaking at #2 on the U.S. R&B singles chart and #18 on the U.S. pop charts.

“Happy” is a blithesome soul/pop track with an uplifting, positive message. The song has a fun, playful vibe that wouldn’t sound out of place on a children’s TV program. It’s a great cut to put on when you’ve had a rough day and need a little boost. Brown again displays his versatile brass and woodwind skills on this track, playing a trombone, flute and trumpet solo. And the vocal work here is topflight, particularly on the unison-sung falsetto parts.

Another album highlight is the relentlessly funky party groove “We Don’t Wanna’ Sit Down (We Wanna’ Git Down).” Ransom’s bass work is fantastic throughout this hot track, and he takes the funk to another level with a nasty thumpin' solo during the breakdown. The track also boasts some dirty guitar licks and funky brass lines.

And the band members show off their considerable jazz/funk chops on the Earth, Wind & Fire-esque “Living From the Mind.” This kinetic, high-energy groove will have you bouncin’ in your seat and bobbin’ your head. And Ransom gets busy with some sterling bass playing on this cut.

The band slows things down a bit for the infectious love song “Honey Chile.” The track contains solid vocal work from the band members and a super-smooth sax solo from Brown.  Another great mellow track from the album is the soothing, reggae-flavored “Fun.” This is the perfect song to play while you’re just chillin’ and relaxing. And the track boasts some amazing flute work from Brown, who’s pretty much the MVP of this album.

After listening to this album, you realize just how underrated Brick really is. This album catches the band at the very top its game. There are literally no weak tracks to be found on this outstanding collection. It’s an extremely consistent effort that stands up well after repeated plays.

And Brick is one of the band’s most commercially successful albums. It topped the Billboard’s R&B album chart and also had an impressive showing on the Billboard 200, peaking at #15. The album was co-produced by Brick and Phil Benton and was released on the imprint label Bang Records.  And all five of the band members tended to the songwriting duties.

The lineup for Brick when they dropped this album was the following: Jimmy Brown (saxophone, flute, trombone, trumpet and vocals); Ray Ransom (bass, keyboards, vocals and percussion); Eddie Irons (drums, vocals and keyboards); Regi Hargis Hickman (guitar, bass and vocals); and Donald Nevins (keyboards, vocals).

"Dusic"



"Ain't Gonna Hurt Nobody"

 
Brick album at Amazon

Related blog entry: Brick Adds A Little Jazz To Their Funk on Hit Song "Dazz"

Tuesday, November 11, 2014

I’m Just Like You: Sly's Stone Flower 1969-70

A daring and innovative artist, Sly Stone was never afraid to try something different and unique with his sound, and he embraced new technology in his recordings. He was one of the first big-name artists to incorporate drum-machine beats into his music. Starting in the early 1970s, he began using an early analog drum machine called the Maestro Rhythm King MRK-2 (aka the funk box) on some of his tracks. And he famously employed funk-box beats on tracks for Sly & the Family Stone’s groundbreaking album There’s a Riot Goin’ On (1971), including their #1 hit “Family Affair.” So for better or worse, Sly pretty much brought the drum machine into mainstream music with Riot.

And in addition to the Family Stone tracks, Sly also used funk-box beats for songs that he produced for artists on his short-lived imprint label Stone Flower Productions (1969-71). The label was set up by Sly’s manager David Kapralik with distribution by Atlantic Records.

A new compilation titled I’m Just Like You: Sly's Stone Flower 1969-70 explores Sly’s first experiments with the funk box. On November 4, independent label Light in the Attic Records released the LP version of the 18-track collection, which features tracks that Sly wrote, arranged and produced for Stone Flower signees Joe Hicks, Little Sister and 6IX. The album also contains tracks from Sly’s solo efforts during this period. Additionally, the LP has an early version of “Just Like a Baby,” a song that would later appear on There’s a Riot Goin’ On. It’s interesting to hear this future Riot track in its early incarnation.

I’m Just Like You: Sly Stone’s Flower 1969-70 also contains ten previously unissued tracks that are newly remastered from the original tapes. This album captures Sly as he was making the transition to a more dark, minimalist sound, which would define There’s a Riot Goin’ On. This new sound was worlds apart from the largely upbeat, optimistic and anthemic tracks found on the band’s previous album releases. These Stone Flower recordings served as Sly’s testing ground for the evolution of his new sound.

The album features two versions of “You’re The One” by all-female R&B trio Little Sister, which was fronted by Sly’s youngest sister Vaetta Stewart.  The early version of the song has a much different arrangement from the recording that was eventually released to radio. And the final version (“You’re the One, Parts 1&2") was released as a single and became a hit. The percolating funk/soul track climbed to #4 on the R&B charts and #22 on the pop charts.

The album also contains Little Sister’s stripped-down funk-box driven cover version of Family Stone track “Somebody’s Watching One,” as well as the trio’s full-band version of the song. The bare-boned, funk-box version of the song was released as a single and also became a hit, charting at #8 on the R&B charts and #32 on the pop charts.

Additionally, I’m Just Like You features tracks Sly wrote and produced for soul singer Joe Hicks, including the soulful, hard-groovin’ cut “I’m Goin’ Home” and its B-side “Home Sweet Home.” Another noteworthy Hicks track on the album is “Life & Death in G&A (parts 1&2).” This track has that singular, brittle, stripped-down funk-box sound that would distinguish many of the tracks on There’s a Riot Goin’ On.

And the collection also contains tracks Sly wrote and produced for six-piece multiracial rock group 6IX; these tracks are characterized by Sly’s new sonic direction, with slowed-down grooves and a heavy funk-box presence.  One of the standouts of the 6IX songs on the album is a slowed-down, extremely funky version of the Family Stone track “Dynamite.”

I’m Just Like You: Sly's Stone Flower 1969-70 is a terrific collection of tracks and a fascinating snapshot of Sly exploring new sonic terrain and mining a brand-new sound in the process. This new innovative sound was introduced to the world through There’s a Riot Goin’ On, which has had a significant impact on contemporary music; today Riot’s influence can be heard in the genres of R&B, hip hop, funk, soul and even pop and alternative music.

Dynamite by 6IX


I'm Just Like You: Sly' s Stone Flower 1969-70 at Amazon

Related blog entry: You're The One (Part 2) by Little Sister

Tuesday, November 4, 2014

Mr. Dynamite: The Rise of James Brown

This compelling HBO documentary chronicles the rise of music legend James Brown, who was one of  the most important music artists/performers of the 20th Century. The documentary, which premiered on October 27th, examines Brown’s amazing ascension from an impoverished youth to an international superstar and influential cultural figure. Mr. Dynamite: The Rise of James Brown was written and directed by Oscar-winning documentary film director and producer Alex Gibney, and Mick Jagger was one of the executive producers.

The documentary examines Brown’s massive influence on the music and entertainment world. He was a peerless dancer/performer who influenced a slew of great performers, including Prince, Michael Jackson, Tina Turner, Mick Jagger, Terence Trent D’Arby, Janelle Monáe and Bruno Mars. And perhaps Brown’s greatest achievement was his invention of funk music, which is an explosive, beat-heavy, rhythm-driven form of R&B. Funk has spawned a number of popular music genres, including disco, hip hop, boogie, house music, go-go, electro music, funk metal and G-funk. And the documentary explores how Brown cultivated this new funk sound and continued to expand it until it was an essential component of R&B music.

Mr. Dynamite is filled with incredible concert footage that features some of Brown’s most electrifying performances, including his legendary appearance on The T.A.M.I. Show in 1964, which introduced him to a young white audience in the U.S. and significantly broadened his fan base. It also has his 1966 debut appearance on The Ed Sullivan Show where he blew television viewers away with his raw and dynamic performance style. These concert clips display why people started calling him “Mr. Dynamite.”

The film also shows clips from his historic concert in Boston, Massachusetts following the assassination of Dr. Martin Luther King, Jr. on April 4, 1968. Riots were erupting in cities all across the U.S. at the time, and there were concerns that violence might break out in Boston as well. The concert was held on April 5, the day after the civil rights leader's assassination, and anger in the black community was still at a boiling point. When audience members starting getting rowdy and rushing the stage, Brown stopped mid-performance, chided the crowd for their behavior and how it hurt Dr. King’s legacy as well as the Civil Rights Movement in general. The crowd quickly quieted down, and Brown launched right back into the song he was performing without missing a beat.

Invaluable clips like this show just how much Brown was respected and revered in the black community at that time. There was probably no other person alive who could have defused the crowd's anger and agitation in such an absolute fashion. And most agree that Brown’s concert prevented riots from occurring in Boston during those sad and bitter days following Dr. King's assassination. The documentary also touches on how Brown was inspired to write “Say It Loud (I’m Black and I’m Proud)," one of the greatest and most important black pride anthems ever recorded.

The documentary profiles the funk pioneer flaws and all. It pulls no punches when addressing the Godfather of Soul’s shortcomings. It paints a portrait of an exceptionally talented but controlling, insecure and somewhat isolated figure who had serious trust issues. The documentary examines Brown’s rough childhood, which may have been the root of his insecurities and sometimes irrational mistrust of people; his mother abandoned him when he was four, and he spent many of his childhood years living in his aunt’s brothel in Augusta, Georgia, and his father was often out of the picture as well.

Some of Brown’s former band members shared stories of his volatile temper and the despotic fashion in which he controlled his band. However, the musicians also praised Brown for his undeniable gifts as a performer and as a true music innovator and how they were proud to have played on some of his classic tracks, which ushered in new type of R&B sound in the 1960s and ‘70s. Some of band members who were interviewed for the documentary included Maceo Parker, Bootsy Collins, John “Jabo” Starks, Alfred "Pee Wee" Ellis, Clyde Stubblefield and Fred Wesley. The film also contains numerous clips of interviews that Brown gave throughout his career, which offer some insight into his political and personal beliefs during different periods in his life.

And the documentary also features commentary from contemporary artists who discuss how Brown had influenced and inspired them as musicians and performers. Some of these artists include Kanye West, Ahmir-Khalib Thompson (aka Questlove), Chuck D and Janelle Monáe.

Brown was truly a one-of-a-kind artist. His impact was undeniable, and he wrote a new chapter in music history and blazed a path for numerous artists who followed. He achieved this through preternatural talent, obsessive drive, a powerful work ethic and sheer force of will. And this absorbing, well-researched documentary does a tremendous job of exploring Brown’s life—onstage and off—and how he came to be the world-shaking funk dynamo who forever changed the game in popular music and entertainment.