Influential rock ‘n’ roll legend Little Richard died on Saturday morning from bone cancer. He was 87. Born Richard Wayne Penniman in 1932 in Macon, Georgia, Little Richard was one of rock ‘n’ roll’s most important architects. He played a crucial role in the development of the genre during its infancy in the 1950s. The fiery and flamboyant musician’s amazing talent, charismatic personality and powerhouse performances made him a star and a pivotal figure in the burgeoning rock ‘n’ roll movement. His discography includes seminal rock ‘n’ roll classics such as “Good Golly, Miss Molly,” “Tutti Frutti,” “Lucille,” “Rip It Up” and “Long Tall Sally.” Little Richard lit up these tracks with his scorching gospel-infused vocals and explosive piano-playing style. His sound was a potent mix of boogie-woogie, rhythm and blues, gospel and jump blues.
Little Richard’s influence is immense. It reverberates in many corners of the music and entertainment world. He was a major source of inspiration for iconic artists such as the Beatles, Elvis Presley, Elton John, Prince, the Rolling Stones, James Brown, David Bowie, Bob Dylan, Jimi Hendrix and Otis Redding.
Additionally, Little Richard and his music helped break down racial barriers (playing to audiences made up of black and white fans) during a time when Jim Crow segregation laws were firmly in place and strongly enforced by authorities. He was also one of the earliest well-known recording artists whose stage persona had androgynous elements, blazing a path for many gender-bending artists who followed.
Little Richard was a trailblazer on several fronts. His many contributions to music and popular culture will forever be remembered and celebrated.
Acclaimed soul legend Bill Withers died on March 30 from heart complications. He was 81. Withers was one of the most cherished and respected artists of the 20th century. Throughout the 1970s, he released a string of amazing songs, many of which have become timeless classics. He continued to release great music in the ‘80s, particularly in the early part of that decade. Withers had a rare gift as a songwriter and storyteller that few artists could match. All of his songs possess a sense of authenticity and emotional power that makes the listener believe every word as if it were gospel. Withers’ talents earned him tons of accolades and awards, including three Grammys. He was inducted into the Songwriters Hall of Fame in 2005 and the Rock & Roll Hall of Fame in 2015. In recognition of the artist, I’ve made a list of my top five favorite Bill Withers songs. Here is the list in no particular order
Kissing My Love (1973)
This joyous tune touches on a subject that many people can relate to—the feeling of pure euphoria when kissing your sweetheart. The infectious groove features a percolating beat, funky wah-wah guitar licks and a superb string arrangement. And Withers infuses his vocals with heaps of gritty down-home soul. When this cut comes on, you have no choice but to "pat your foot, don't stop/put your foot on the rock.”
“Lean On Me” is a stirring anthem of hope, resilience and solidarity. It has long been a go-to song at public gatherings to lift people’s spirits and bring them closer together; it has been sung in a variety of settings, including school assemblies, church services, AA meetings, sporting events, charity fundraisers, weddings, protest marches and family reunions. This beautiful gospel-soul masterpiece struck a universal chord among listeners and is forever etched in our cultural landscape. There’s even a major motion picture named after it. One of the things that separates “Lean on Me '' from a lot other inspirational songs is the honesty and sincerity that Withers so effortlessly brings to it.
There is something truly magical about this song. The lyrics are so powerful that they could easily stand on their own as a poem. I can imagine seeing them on the pages of an anthology of great African-American poetry. However, the haunting music arrangement coupled with Withers’ soulful baritone make “Grandma’s Hands” a transcendent piece. The singer reminisces about his late grandmother’s generous spirit and quiet strength. The song showcases what a gifted storyteller Withers was. You can clearly envision the events that he recounts about his beloved “grandma” in the verses.
On this breezy slice of R&B, Withers reflects on the restorative power of love and how it can help a person maintain a positive outlook in the face of life’s many hardships and uncertainties. The song has an uplifting, reassuring tone and is great to listen to when you need a musical boost for your spirits. And the arrangement is topflight—groovin’ bass, soothing horn charts and airy strings. A bit of interesting trivia about the song: Withers set a record for the longest sustained note on a US chart hit when he held a high E note for 18 seconds near the end of "Lovely Day."
“Use Me” is the bittersweet tale of a dysfunctional relationship between the song’s narrator and his overbearing, emotionally abusive partner. She humiliates and undermines him at every turn, but he readily endures this mistreatment because the benefits behind closed doors outweigh the abuse: “It ain't too bad the way you're using me/'Cause I sure am using you to do the things you do.” The musical arrangement fits the lyrical content well. The seductive groove is bolstered by Ray Jackson’s funky hohner clavinet and James Gadson’s super-smooth drum pattern. And Melvin Dunlap’s bass work keeps the flow sweet and sexy.
Stevie Wonder’s 1987 single “Get It” marked the second time that he and Michael Jackson dueted on a song. The superstar pair had previously traded vocals on “Just Good Friends,” a track from MJ’s multiplatinum album Bad (1987). “Get It” is a step up from “Just Good Friends,” which is a rather pedestrian piece of pop/soul fluff. “Get It,” on the other hand, has some real bite to it. Both Stevie and MJ deliver strong vocal performances over a potent dance groove, and Stevie anchors the track with a nasty synth bass line and a bumpin’ electro beat.
The song is about a woman who’s wary of getting into a new relationship due to being hurt too many times. But Stevie and MJ try to convince her that they are different from other guys and can offer her more than just material things, heartbreak, and empty promises—and they’ll shower her with tons of “tender love and affection.” The high point of the song comes near the end when MJ and Stevie engage in an epic riff-off to win over the girl; the two artists let loose with some vocal fireworks. It’s a shame that they never got the opportunity to perform this song together live. They surely would have left the stage in ashes if they had.
“Get It” was written, arranged, and produced by Stevie. It was a single from his platinum-selling album Characters (1987). He played all the instruments on the track except for the guitar part, which was played by his longtime sideman Ben Bridges. And Mary Lee Evans accompanied Stevie on the background vocals. The song performed well on Billboard’s R&B singles chart, peaking at #4. It also had a strong showing on Billboard’s Adult Contemporary chart, climbing to #11. However, it only reached #80 on the Billboard Hot 100.
And “Get It” and “Just Good Friends” weren't their only music collaborations. MJ and his brothers provided background vocals for Stevie’s chart-topping protest anthem “You Haven’t Done Nothin',” a single from the Grammy-winning collection Fulfillingness' First Finale(1974). And Stevie wrote and produced an entire Jackson 5 album in 1974, but it was shelved. One of the songs recorded during those sessions was “Buttercup,” which appeared on the 2009 compilation album I Want You Back! Unreleased Masters.
Additionally, Stevie and Susaye Greene co-wrote the haunting ballad “I Can’t Help It” for MJ’s landmark album Off The Wall (1979). Not long after that, MJ sang background vocals on “All I Do,” a track from Stevie’s 1980 LP Hotter Than July. And in 1985, Stevie and MJ joined a slew of other big-name music artists for the all-star benefit single “We Are The World” to help raise money for famine relief in Africa. The song, which was co-written by MJ and Lionel Richie, sold 20 million copies worldwide and raised millions for famine relief.
MJ and Stevie had similar career paths. Both were child prodigies who began their professional music careers at a very young age, and both got their start at Motown. The two enjoyed highly successful music careers in their early adolescence and went on to even bigger success as young adults. Upon reaching young adulthood, they successfully pushed for more creative control over their art, which resulted in their best and most fully realized work. And both artists’ music helped define a decade—the ‘70s for Stevie and the ‘80s for MJ.
Stevie and MJ were also close friends, and they maintained that close friendship until MJ’s death in 2009. They were also third cousins through MJ's mother, Katherine. The pop/soul legend learned a lot about recording music and songwriting from Stevie. This was mainly through observing Stevie at work in the studio, and he’d just soak it all in like a sponge. In fact, MJ frequently visited Stevie in the studio when he was recording his magnum opus, Songs in the Key of Life (1976). And what better teacher to learn from about making music than the Wonder Man himself? MJ always drew inspiration from the best and applied it to his own work, be it in the studio, on the stage, or in his music videos.
Singer/songwriter/performer Niki J Crawford has been electrifying the West Coast music scene with her impressive vocal gifts, dynamic performances, and rich sonic gumbo of funk, soul, rock, reggae, indie, pop, R&B and blues. The multitalented LA-based artist brings an honesty and authenticity to her recordings and performances, and she always forms a strong connection with her audience at her shows. Her talents have earned her a dedicated and enthusiastic following that stretches across California and beyond.
Crawford has shared the stage with music luminaries such as Al Green, Carlos Santana, Snoop Dogg, Aaron Neville, Macy Gray, the Roots and Sharon Jones. And she has performed on popular late-night television shows such as Late Show with David Letterman, Conan, Saturday Night Live and The Tonight Show with Jay Leno.
A versatile singer, Crawford’s vocals can be soothing and reassuring one minute and forceful and brash the next. She rains pure fire on tracks like soul/rock burner “What If,” then turns around and delivers an elegant, understated vocal performance on the majestic “No Fear.”
Crawford was born in a small country town in Springhill, Louisiana. She developed an interest in music at an early age and began singing when she was only six. The talented young singer eventually became the lead soloist in her hometown church choir. And music has been a big part of her life ever since.
Crawford was the lead singer for acclaimed LA funk/soul outfit Orgone for three years before spreading her wings as a solo artist. She has years of touring experience under her belt and has lit up stages all over the world with her immense talent. She's truly a force onstage.
In 2015, Crawford released her EP Genesis Block, a topflight collection of songs. And she released her first full album, The Second Truth, in 2018. This album also boasts really strong material, all of which was written by Crawford.
In addition to being a recording artist, Crawford has a burgeoning career as an actor; she has appeared in films such as He’s Just Not That Into You, Revival, American Dreamz, Love Ranch, Mr. Sophistication and Killer Diller, which garnered her much praise from film critics. And she has guest-starred on popular TV series such as Ally McBeal and Wanted.
To learn learn more about Crawford, get tour dates, or info on any film projects she may have in the works, visit her website.
Crawford's original song "What If"
Crawford performs "It's a Man's Man's Man's World" at Long Beach Jazz Festival 2016
Legendary West Coast funk/soul outfit Tower of Power blasted a hole through the funkmosphere with this supersonic groove back in 1974. This is dynamic, heavy-duty funk as only Tower of Power could do it. Rocco Prestia’s nimble-fingered bass work surges through the groove like an electrical current, and David Garibaldi fires up the funk with an insane beat. His complex, rapid-fire drum pattern has gone down as one of the baddest funk beats ever put on wax. Also, TOP's celebrated horn section puts an exclamation point on the funk with some explosive horn volleys. And let’s not forget Lenny Pickett, who shuts it down with a fantastic tenor sax solo. The track also features some smokin' organ work from Chester Thompson. This is pure funk at its most raw and exhilarating, and it shows why Tower of Power has a longstanding rep as one of the tightest funk bands of all time.
“Oakland Stroke” was written by Garibaldi, Emilio Castillo and Stephen Kupka. It’s a track from Tower of Power's fourth album, Back to Oakland, released in the spring of 1974. The track bookends the album--Part 1 at the intro, with Part 2 closing out the album. It's short and sweet, just 0:53 for the intro, and part 2 clocks in at 1:08. It’s amazing how much funk the band managed to pack into such a small amount of time. Not a drop of funk was wasted on this cut.
Back to Oakland, produced by Tower of Power, features the moderate hit "Don't Change Horses (In The Middle of a Stream)," which peaked at #26 on the U.S. pop singles chart and #22 on the U.S. R&B singles charts. The album also features the classic funk-jazz instrumental "Squib Cakes." Modern Drummer Magazine voted Back to Oakland one of the most important recordings for drummers to listen to.
The lineup for Tower of Power when they dropped Back to Oakland was the following: Lenny Pickett (1st tenor sax, alto sax, bass sax, soprano sax, flute, alto flute, piccolo); Stephen "Doc" Kupka (baritone sax, English horn, background vocals); Francis “Rocco” Prestia (bass); Greg Adams (trumpet, fluegelhorn, orchestra bells, background vocals); Mic Gillette (trumpet, fluegelhorn, trombone, bass trombone, background vocals); Emilio Castillo (2nd tenor sax, background vocals); Bruce Conte (guitar, background vocals); David Garibaldi (drums); Lenny Williams (lead vocals); Chester Thompson (organ, bass pedals, piano, Fender Rhodes piano, clavinet, background vocals); and Brent Byars (conga drums).
Tower of Power was formed in Oakland, California, in 1968 by Emilio Castillo and Stephen Kupka.
Pedro Bell—the artist and illustrator responsible for Funkadelic’s iconic, mind-blowing album covers—died on August 27. He was 69. The cause of his death has not been announced. Bell’s imaginative cover art played a significant role in the P-Funk experience and contributed immensely to the band’s mythology. For the Funkadelic album covers, Bell created an alternative Afrofuturist universe filled with psychedelic sci-fi imagery and assorted freakazoid characters. He also wrote the liner notes for Funkadelic’s albums under the name Sir Lleb, which is his surname spelled backwards. In celebration of the artist, I’ve written up short reviews of my top three Pedro Bell album covers. Hardcore Jollies – Funkadelic (1976)
This is my favorite Pedro Bell album cover. It’s emblazoned with rich, vivid colors and eye-popping images. Bell’s wild imagination was at its most fertile during the creation of this dazzling cover art. It just jumps right out at you. The album cover is strange and otherworldly but also quite beautiful. It’s not just one of Bell’s best album covers; it’s one of the best album covers, period.
Cosmic Slop – Funkadelic (1973) Cosmic Slop was Bell’s first album cover for Funkadelic, and it’s a stone-cold masterpiece. It’s at once horrifying, weird, and brilliant. He visually captured what the band was all about—bold irreverence, unconventionality, and pure invention. And it's all topped off with ample dollops of freakiness. After Bell began creating the Funk Mob’s cover art, enjoying a new Funkadelic album was no longer just an auditory experience but a visual one as well. Owners of new Funkadelic albums would pore over Bell’s bizarre, surrealistic cover art while listening to the band’s new tracks.
One Nation Under a Groove — Funkadelic (1978)
Bell’s amazing cover art for Funkadelic’s landmark album One Nation Under a Groove puts an Afrocentric twist on the iconic photograph of Raising the Flag on Iwo Jima. He replaces the U.S. Marines with a motley funk crew of men and women, raising a colorful flag emblazoned with R&B. It’s quite a powerful statement about black identity and empowerment. It’s also a strong statement about the power of black music and its role as the pulse and bedrock of American music. There is a lot less going on here than on most of Bell’s Funkadelic album covers, but it’s just as effective in grabbing one's attention.
Pedro Bell left behind a wealth of great artwork, and he'll always be remembered by Funkateers for his incredible cover art. Rest easy, Captain Draw.
The founding members of Average White Band in 1974
The 1970s were the golden age of funk music. The explosive, rhythm-driven style that James Brown birthed in the 1960s had become a major force in contemporary music by the ‘70s. And funk wasn’t just music for people to shake their rumps to on the dance floor. It was also a powerful political statement. Funk was a sonic expression of freedom, protest, and cultural identity for Black Americans. And the ancient tribal rhythms of their African ancestors were apparent in funk’s potent grooves. Perhaps that was one of the reasons why rap artists were so drawn to funk.
A slew of amazing funk bands emerged in the ‘70s. And one of the top funk outfits from that decade was the ironically named Average White Band. When the band dropped its 1974 smash “Pick Up The Pieces,” many funk fans were initially shocked to learn that a group of white musicians from Scotland had captured the essence of funk so accurately and with such passion and soul. AWB’s predominantly black following and the band's genuine love and appreciation for funk, soul, and R&B illustrated once again that music is the true universal language and has the power to break down racial, social, and cultural barriers.
AWB released a lot of great music back in the day, including the massively funky “School Boy Crush,” a single from the band’s third album Cut The Cake (1975). Although it was only a modest hit on Billboard's singles charts—pop (#33), R&B (#22)—it went on to become a funk classic and huge sampling source for many hip-hop and R&B artists. It has been sampled on a total of 176 songs.
The track’s monstrous bass line and dead-in-the-pocket beat caught the attention of young artists and producers who were in search of strong grooves to sample. “School Boy Crush” also boasts nasty rhythm guitar licks, punchin’ horn lines, and super-funky clavinet. And let’s not forget those dope sleigh bells! Sleigh bells never sounded so funky. Just that little touch added so much to the track and took it to a whole other level. It also enhanced the song’s childlike vibe of a kid experiencing his first crush.
Grammy-winning songwriter/producer Dallas Austin sampled those funky sleigh bells to optimal effect on TLC’s platinum-selling debut single “Ain’t 2 Proud 2 Beg.” The sleigh bells also turn up on Nas’ “Halftime,” a single from his landmark debut album, Illmatic. Producer Large Professor did a masterful job of seamlessly incorporating the sleigh bells into the track’s powerful beat. And legendary hip-hop duo Eric B. & Rakim sampled the sleigh bells and the main guitar riff from “School Boy Crush” for their iconic track “Microphone Fiend.”Also, famed West Coast rapper Too $hort’s track “Life Is… Too Short” features a dynamic interpolation of the bass line, main guitar riff, and other sonic elements from “School Boy Crush.”
In addition to “School Boy Crush,” many other AWB tracks have been sampled, including their biggest hits “Pick Up The Pieces” and “Cut The Cake.” In all, their music has been sampled on 599 songs.
Average White Band had a major impact on both funk music and hip-hop. The creation of sampling enabled the band to reach a whole new audience of young listeners who missed the '70s funk revolution.
