“Just Kissed My Baby” is a stone-cold banger by New Orleans funkmasters
the Meters. This cut showcases the band’s
formidable skills at creating nasty deep-funk grooves. George Porter Jr. makes
his presence felt in a big way with a mammoth bass line, and Zigaboo Modeliste burns
up the pocket with his super-funky drumming, while Leo Nocentelli cooks up some
wicked wah-wah voodoo on guitar. Art Neville infuses his Hammond organ work with massive
dollops of Big Easy soul. And the horn section drops pure fire with some tight horn
blasts. Also, Lowell George from the rock band Little Feat contributes some
sweet slide guitar licks. “Just Kissed My Baby” was written by Modeliste, Nocentelli,
Porter and Neville. It’s a track from
the Meters’ influential and acclaimed fifth album Rejuvenation, released in 1974. The collection—co-produced by Allen
Toussaint and the Meters—is filled with stellar funk and soul tracks, including
the irresistible “Hey Pocky A-Way,” which peaked at #31 on the Billboard
R&B singles chart. Rejuvenation
was ranked number 138 on Rolling Stone
magazine’s 500 Greatest Albums of all time. Many hip-hop heads discovered “Just Kissed My Baby” via
samples. Public Enemy sampled it on their track “Timebomb.” Other artists who
sampled it include EPMD (“Never Seen Before”) and Fabolous (“Right Now &
Later On”). It was also featured on the popular video game Grand Theft Auto IV’s
soundtrack. The Meters dropped
tons of great funk back in the day and built a sterling rep as one of the
baddest funk outfits in the game. Although they didn’t attain the popularity or
record sales of bands like P-Funk, Sly & the Family and the Ohio Players, the
Meters left a huge musical legacy and are one of the most influential funk
bands of all time. They brought a down-home New Orleans flavor to funk music that all funk lovers are extremely thankful for.
R&B
sensation Janelle Monáe further solidified her stature
as one of the most exciting and dynamic artists/performers working today with an
electrifying medley of songs from her critically acclaimed Dirty Computer album during Sunday night’s telecast of the
61st Annual Grammy Awards. She brought the funk with both barrels,
thrilling the audience with her amazing talent and powerful stage presence. Monáe kicked off the performance with the Prince-inspired
“Make Me Feel.” She appeared onstage holding a
pale-green Fender Stratocaster, flanked by her dancers, and proceeded to play the
track’s funky rhythm licks as she sang the verses. After one of the dancers
removed the guitar, Monáe really cut loose and delivered a stunning,
roof-raising performance that was filled with nods to the legendary music holy trinity of James Brown, Prince and Michael Jackson. The medley also included “Django Jane” and “Pynk.” Her dancers even wore the
famous vagina pants from the now-iconic “Pynk” music video. Other
performance highlights included a dazzling unison moonwalk that was flawlessly executed by Monáe and her dancers, and
the show-stopping finale where she burned up the stage to James Brown’s funk
classic “I Got The Feelin’.” Many
people were floored by the performance with Monáe receiving tons of love across
the Internet and elsewhere; music stars like Diddy, Ariana Grande and Lady Gaga heaped praise on the performance. Even former first daughter Chelsea Clinton gave Monáe a shout-out on Twitter. And many entertainment and music
publications wrote that the performance was one of the biggest highlights of
the night. Monáe
was nominated for two Grammys this year: Album of the Year for Dirty Computer and Best Music Video for “Pynk.” Although she went
home empty-handed, she was still a huge winner Sunday night. Just ask anyone
who watched her performance.
The Jacksons electrified an audience of 35,000 strong with an earth-shaking performance of their dance-floor classic “Shake Your Body (Down To the Ground)” for the finale of a Toronto show on their historic 1984 Victory Tour. Michael Jackson effortlessly commanded the stage with his dazzling footwork and magnetic charisma. His performance was peppered with jaw-dropping spins, explosive kicks and smooth glides across the stage. And he flawlessly executed these moves while delivering a powerful lead vocal performance.
Big brother Jermaine raised the funk level to the stratosphere with some wicked thumpin’ and pluckin’ on bass; Randy, Jackie, Marlon and Tito lit up the stage with their dynamic showmanship and soulful backing vocals. And in addition to vocals, Tito let loose with some sweet guitar licks.
The performance included a funky breakdown section where the Jacksons really cut loose and got raw and dirty. The section has a funny bit where the brothers call out Marlon for his nasty dance moves. MJ would later include the breakdown part in performances of “Shake Your Body” on his record-breaking Bad World Tour (1987 –89).
The Victory Tour was especially significant because it was the first time that all six Jackson brothers toured together, and it also marked the last time that Michael Jackson toured with his brothers. At the time of the tour, “Michaelmania” was in full swing. The pop/soul superstar was riding the crest of Thriller’s astronomical success, and everyone in his orbit was swept up in it. His participation in the tour no doubt gave a healthy boost to all of his brothers’ careers, as well as putting a cool $7 million in each of their pockets. (MJ reportedly donated all of his Victory Tour earnings to charity.)
Although MJ was the centerpiece of the tour, all of his brothers had opportunities to shine onstage—and rightly so. They’re all talented in their own right and have all worked extremely hard since they were very young for their success, as well as made tons of sacrifices. MJ was indeed a rare talent, but his brothers also deserve some props and recognition for their impressive accomplishments in the music game.
The immensely entertaining Broadway-bound musical Ain’t Too Proud—The Life and Times of The Temptations explores the storied history of legendary Motown group the Temptations. It’s chock-full of Tempts classics, from the flawless R&B/pop gems of their early years to the hard-edged socially conscious tracks of their psychedelic soul era in the late 1960s and early ‘70s. The talented cast performs these timeless tracks with flair, enthusiasm and tons of soul.
Ain’t Too Proud is an exhilarating and bittersweet celebration of the Temptations and their amazing musical legacy. Award-winning playwright and Detroit native Dominique Morisseau wrote the musical’s book, which is based on founding member Otis Williams’ memoir Temptations. The memoir—which Williams co-authored with Patricia Romanowski—functions as both an autobiography on Williams and a history of the group.
Williams is the sole surviving founding group member, and the musical is told primarily from his vantage point. He was the Temptations’ de facto leader and often served as the glue that held the group together. Williams is played by the charismatic stage and screen actor Derrick Baskin (Annie, Marshall), who turns in a superb performance. The other cast members are equally strong in their respective roles.
In addition to showcasing the Temptations' many career triumphs and milestones, Ain’t Too Proud also touches on some of the group’s lowest points—such as the bickering and backbiting among group members; drug and alcohol abuse; outsized egos; creative battles with Motown head Berry Gordy; and the prima-donna antics of the tremendously gifted but mercurial frontman David Ruffin.
Ain’t Too Proud boasts several show-stopping numbers that were amazingly performed and choreographed. The performers had audience members singing along with Temptations classics such as “My Girl,” “Just My Imagination (Running Away with Me)” “I Can’t Get Next To You” and “Papa Was a Rollin' Stone.” And Morisseau does a great job at holding the audience’s attention between musical numbers with her sharp, cleverly written dialogue.
The musical is directed by two-time Tony Award winner Des McAnuff (Jersey Boys, The Who’s Tommy) and choreographed by Olivier Award winner Sergio Trujillo. In addition to Baskin, some of the other cast members include Ephraim Sykes (David Ruffin), Jawan M. Jackson (Melvin Franklin), James Harkness (Paul Williams), Jeremy Pope (Eddie Kendricks), Saint Aubyn (Dennis Edwards), Jahi Kearse (Berry Gordy), Christian Thompson (Smokey Robinson) and Candice Marie Woods (Diana Ross).
Ain’t Too Proud recently wrapped up a successful five-week run at the Ahmanson Theatre in Downtown Los Angeles and is set to play on Broadway early next year. The stellar production makes for a thoroughly rewarding theatergoing experience and is a definite must-see for devoted Temptations fans and lovers of musicals.
R&B artist Leroy Hutson dropped this smelly funk groove back in 1976. This is pure uncut funk with all the groove essentials: tight horns, poppin’ bass, hot beat, nasty guitar licks and funky clavinet. And some badass synth work further deepens the funk. The track also boasts a killer bridge.
“Blackberry Jam” was written, arranged and produced by Hutson. It was a single from his 1976 album Hutson II. It charted at #82 on Billboard’s R&B singles chart. Some of the players on the track included Reggie Gillerson (bass), Cordell Carter (drums), Stephen Harris (guitar), Michael Harris (trumpet), James Hirsen (keyboards—ARP Odyssey), Bill McFarland (trombone), Jerry Wilson (tenor saxophone), and Hutson himself was working the clavinet.
Hutson is one of soul music’s most underrated and underappreciated artists. Rolling Stone magazine once characterized him as "the best-kept secret of Seventies soul.” The multitalented singer/songwriter/producer/instrumentalist was a member of various vocal groups around his native Newark, NJ in the ‘60s. He got his first taste of chart success with the 1970 socio-political song “The Ghetto,” which he co-wrote with soul great Donny Hathaway, who was his Howard University roommate. The track—which peaked at #23 on the U.S. soul charts and climbed to #87 on the pop charts—is now considered a classic and one of the definitive messages songs of that era.
At Howard, Hutson was also a member of the vocal group the Mayfield Singers, which was put together by music legend Curtis Mayfield. The group consisted of Hutson, Donny Hathaway and June Conquest. The Mayfield Singers were known for their rich, soulful, choir-like vocal work. They released several tracks on Mayfield’s short-lived indie label Mayfield Records. The group even got the opportunity to perform at the legendary Apollo Theater in New York City. Despite the group’s strong vocal talent, their records failed to chart.
Nonetheless, Hutson’s affiliation with the Mayfield Singers opened up a great new musical opportunity for him. He was tapped to replace Curtis Mayfield as the lead singer of famed soul group the Impressions in 1971. The Impressions recorded two albums during Hutson’s two-and-a-half year tenure with the group and scored two moderate hits on the R&B charts: “Love Me” (#25) and “This Loves For Real (#41). He left the group in 1973 to pursue a solo career.
Hutson wrote, produced and arranged his first solo album, Love Oh Love, which was released in 1973 on Custom Records. The album showcases Hutson's strengths as a ballad writer and vocalist; the bulk of it is made up of beautiful R&B ballads. In addition to the great ballads, the album boasts strong cuts like “Time Brings on a Change” a haunting message song in the vein of Marvin Gaye and Curtis Mayfield’s work. The song features a dynamic string arrangement, a brooding bassline and stellar vocals.
The album’s two singles charted on the low end of Billboard’s R&B singles chart: “Love, Oh Love (#75) and “When You Smile” (#81). Hutson played percussion, synthesizer (ARP) and electric piano on the album. He brought in a talented group of musicians to handle the rest.
Hutson continued to record topflight music throughout the ‘70s and landed a few more hits, including the lush disco track “Feel the Spirit,” which charted at # 5 on Billboard’s disco charts and #25 on Billboard’s R&B singles chart. And the irresistible sweet-soul love song “All Because of You” peaked at #31 on Billboard’s R&B singles chart. In all, Hutson released seven solo albums in the ‘70s, and all were released on the Custom Records label.
Hutson’s musical output in his solo work slowed down considerably in the ‘80s. He only released one solo album in that decade—Paradise, which was released on Elektra Records in 1982. It’s a solid collection of jazz-laced mellow jams and quality funk grooves. It was his only release on the Elektra label.
In addition to his own material, Hutson has worked as a writer/producer for artists such as Roberta Flack, the Natural Four, Linda Clifford, The Voices of East Harlem and The Next Movement.
Hutson's music has been sampled by a slew of artists, including Erykah Badu, Bone Thugs-N-Harmony, Too Short, T.I., Wiz Khalifa, The Notorious B.I.G., Nas, Pete Rock, UGK, Adagio!, Young Jeezy, Memphis Bleek and Paul Wall.
Last year, he released the 19-song compilation Anthology 1972-1984 on Acid Jazz Records, a label based in East London. In February, Acid Jazz reissued the albums Hutson and Hutson II. And in May, they reissued two more of Hutson’s albums: The Man! and Closer to the Source. The label also released a four-part online documentary titled Leroy Hutson – The Man! It was directed by Lee Cogswell and produced by Mark Baxter. Watch it here.
Aretha Franklin, one of the most celebrated and influential singers of the 20th century, died Thursday at her home in Detroit from advanced pancreatic cancer. She was 76.
Franklin has been the standard-bearer for female vocalists for five decades. Superstar vocal powerhouses—from Patti LaBelle, Whitney Houston and Mariah Carey to Beyoncé, Jennifer Hudson and Adele—are all indebted to the Queen of Soul. She created the blueprint for the larger-than-life vocal diva in contemporary music. Her influence is massive, extending across genres with legions of vocalists citing her as a major influence and inspiration.
The vocal legend was also incredibly versatile; she was at home singing in a number of different styles, including R&B, jazz, blues, gospel, pop, dance, show tunes and even classical.
Franklin’s powerful gospel-soaked vocals lit up classics such as “Respect,” “Baby I Love You,” “Chain of Fools,” “Think,” “Spanish Harlem,” “Do Right Woman, Do Right Man,” “I Never Loved a Man (The Way I Love You),” “(You Make Me Feel Like) A Natural Woman” and “(To Be)Young, Gifted and Black.”
She scored 20 number one hits on Billboard’s R&B singles chart, and 17 of her songs made the top 10 on Billboard’s pop charts. She sold more than 75 million records worldwide. And she has won 18 Grammys and was the first woman to be inducted into the Rock and Roll Hall of Fame.
Additionally, Franklin and her music have had a huge cultural impact. Songs like “Respect,” “Think” and “(You Make Me Feel Like) A Natural Woman” made Franklin a feminist and civil rights icon. “Respect” became an anthem for both movements. It spoke directly to these causes in a way that no other medium could. “Think” has been embraced by women as a feminist anthem due its themes of freedom and respect. And many view “A Natural Woman” as a stirring celebration of womanhood.
Franklin was also a talented songwriter and had a hand in the writing of some of her best-known tracks. She wrote “Day Dreaming” and “Rock Steady” on her own and co-wrote “Think” and “Dr. Feelgood (Love is a Serious Business)” with Ted White.
Like many great soul singers, Franklin’s music career began in the church. Her father, Clarence LaVaughn Franklin, was the pastor of New Bethel Baptist Church in Detroit. When she was very young, she sang with her two sisters, Erma and Carolyn, at New Bethel. The gifted young vocalist was performing solos by the time she was 10. In addition to singing, Franklin was an accomplished pianist, who taught herself how to play by learning the songs she heard on the radio.
Her father would often record his sermons, and these recordings were released on Chess Record’s Checkers label. Due to these recordings, the pastor’s fame grew and he would make appearances at churches around the country. He brought his talented young daughter Aretha along on these church tours to provide piano accompaniment to his sermons and when he sang gospel songs.
At 14, Franklin recorded an album of hymns on the J.V.B. gospel label. After she turned 18, she decided to take her music in a secular direction. This decision was inspired by her musical idol Sam Cooke, who was a gospel singer before he switched to recording popular music. She sent a two-song demo to Columbia Records, which resulted in her getting signed to the label in 1960. Franklin landed three top ten hits on the R&B charts with Columbia: “Today I Sing the Blues” (#10), “Won’t Be Long (#7) and “Operation Heartbreak” (#6). She was still in her teens when she recorded these tracks.
When Franklin’s contract with Columbia Records ended in 1966, she signed to Atlantic Records, which she had been eyeing for some time. Her association with Atlantic resulted in some of the greatest soul recordings of all time. She released a slew of classics during her 13-year tenure with the label, which helped bring soul music to an even wider audience. Franklin was crowned the undisputed “Queen of Soul” during this period.
She left Atlantic in 1979 and signed with Clive Davis’ Arista Records the following year. Franklin enjoyed more chart success with Arista with big hits like “Jump to It" and the Grammy-winning “Freeway of Love.” And she participated in some memorable duets with people like Dionne Warwick, Smokey Robinson, Elton John, Mariah Carey, George Michael, James Brown, Ray Charles and Frank Sinatra.
Franklin was the embodiment of soul music and one of the most gifted vocalists of modern music. She leaves behind a phenomenal musical legacy. Her music has inspired, moved and brought joy to millions and will continue to do so in the years to come.
"(To Be) Young, Gifted and Black"
Aretha performing “Do Right Woman, Do Right Man" on The Merv Griffin Show in 1967
Aretha performing Inez and Charlie Foxx's classic "Mockingbird" with pianist Ray Johnson in 1965
Michael Jackson had a surfeit of material when he and Quincy Jones were putting together the Bad album. He reportedly wrote 62 songs for his highly anticipated 1987 follow-up to Thriller. Jackson originally wanted Bad to be a three-disc collection made up of 33 tracks. However, Jones eventually convinced him to trim the collection down to 10 songs with a bonus track ("Leave Me Alone") on the CD version.
As a result, a lot of strong tracks didn’t make the final cut, including “Cheater.” The Gloved One brings the funk with both barrels on this nasty groove, letting loose with a raw, gospel-infused vocal performance. Additionally, the track features a bumpin' bass line and dirty rhythm guitar licks. It also boasts a terrific bridge.
Jackson revisits one of his favorite themes on this song: betrayal. He blasts some shady folks who have backstabbed him. He doesn’t specify who these people are and exactly how they have betrayed him, but whatever they did has him pretty damn heated. The pop legend delivers his verses with tons of soul, attitude and righteous anger. It's one of his grittiest vocal performances.
“Cheater” was written and produced by Jackson and veteran keyboardist/songwriter/musical director Greg Phillinganes. It’s unknown why this great track didn’t make it onto Bad. It later appeared on the comprehensive box set The Ultimate Collection (2004).
The musicians who played on “Cheater” were Phillinganes on keyboards and David Williams on guitar. No drummer is listed in the credits, so a drum machine was most likely used; and Phillinganes held down the funky bass line on the keys.
