Listen to this song by international citizen and crossover R&B/Hip Hop/dance-pop maven Neneh Cherry. It’s “Buffalo Stance”, her biggest hit and featured on her landmark 1989 album Raw Like Sushi. The song was a smash success all over the world, scoring big numbers on the pop and R&B charts in the US, the UK, and even here in the Great White North.
The song itself is an almalgam of musical styles, and isn’t really affliliated with any one of them. There are some pretty broad strands of musical traditions that can be plucked out of this song. Soul, electro, and hip hop are certainly among them, with those strains of music growing more and more in stature as it was imported from the United States to scenes in the UK where it was also developing domestically by the end of the eighties. I think a lot of post punk textures can be found pretty prominently in here as well, with lots of light and dark textures weaving in and out of each other. Along with all of these ingredients, “Buffalo Stance” proved to be pretty adaptable to all kinds of musical channels, popular as a video, a single on the radio, and certainly in the clubs.
But, what is this song actually about, and what is its real relationship with its singer? It is certainly rooted in ideas about finding common ground, and finding likeminded people with whom to surround oneself. But, it also has an aspect to it that is often missing in pop music that is made to dance to; a political edge.
Listen to this track by familial R&B vocal group from Philadelphia, Sister Sledge. It’s “We Are Family”, a signature tune from them as written by Nile Rodgers and Bernard Edwards of Chic, who also play on it along with drummer Tony Thompson. All three are namechecked in the performance by lead singer Kathy Sledge. The song is taken from their 1979 album of the same name; We Are Family. This is the full length version of the song, which would otherwise appear in a three-minute and change radio edit.
This is a classic tune of the disco era. It’s an anthem to celebrate those who are singing it, a paean to sisterly bonds and to what is means to be a part of something greater than oneself – a family. It’s also something of an anthem to those who gathered in the clubs as a subculture of those not recognized by the mainstream yet made into a family of sorts by virtue of their disenfranchisement. But, really, anyone can see what this song is about, and can relate to it. No wonder it was such a hit.
The song would be one of Sister Sledge’s biggest hits, released in March of 1979 and scoring a #2 chart position on the Billboard 100 and a #1 showing on the R&B charts. This was after the single made headway in the clubs then into local and national radio play. Not bad for a song that the label was unsure about whether or not this would make any waves, hitwise. It was also something of an extra victory, considering that it was made to order for the group, even if Rodgers and Edwards hadn’t heard or seen them before the song was written. Read more
Listen to this track by returning neo-soul new hope and R&B auteur D’Angelo, also crediting the band who appear on the record, The Vanguard. It’s “Really Love”, a single as taken from 2014’s Black Messiah. The record was certainly a long time coming, following up 2000’s critically-acclaimed Voodoo.
The song is a reflection of the rest of the album in that it is a densely layered work that seems to draw together multiple threads of musical tradition, from jazz to soul, funk and rock music. It’s marked by the influentces of Parliament Funkadelic, Prince, Riot-era Sly & the Family Stone, and What’s Going On-era Marvin Gaye, all while avoiding crude imitation at the same time.
“Densely layered” seems to be the sonic manifesto that drove the making of the album, which may explain why it took so long to create. Apart from songwriter and singer D’Angelo, the record is replete with contributions from Questlove of The Roots, solo artist and former Tribe Called Quest founder Q-Tip, and legendary sessioners Pino Pallidino on bass and drummer James Gadson. Work on the album stretched from 2000 and into the end of last year. That’s a long gestation period that even Axl Rose would be proud of! Yet, even though the record took a long time to craft, it’s release date was rushed at the end for reasons of social significance, and not necessarily for capturing a commercial wave.
Listen to this track by tremendously gifted and seemingly cursed British R&B singer Amy Winehouse. It’s “Back To Black”, the title track to her 2007 sophomore album, Back To Black. The song comes off an album produced by Mark Ronson, who also co-wrote this tune with Winehouse, a tale of a lost relationship, and the mourning period that often follows.
This was the third single off of a record that made her name on the international stage, with “Rehab” and “You Know I’m No Good” being the other two. One of the reasons that these songs, and this record was a success was Winehouse’s voice which connected to a rich seam of R&B singing tradition laid down by Etta James, Erma Franklin, Betty Wright, and others. By the 2000s, these influences were new all over again. Yet, Winehouse was a new voice beyond her influences, with a seemingly effortless capacity for the blues and soulful phrasing all of her own.
But, I think another reason why this song works so well is because it establishes the persona of its author. Of course it would be this that would secure her place in the pop pantheon (not to mention the tabloids), and be her downfall, too. Read more
Listen to this track by Bahamian soul-funkateers and pan-cultural stew-stirrers The Beginning Of The End. It’s their big international hit named after their hometown, “Funky Nassau” as taken from the 1971 album of the same name, Funky Nassau. The record came out on Alston Records, which was a subsidiary of a major label responsible for some of the greatest R&B ever laid down on wax – Atlantic.
The band is made up of the three Munnings brothers; Raphael “Ray” on organ and lead vocals, Roy on guitar, and Frank on drums. The line-up was filled out by Livingston Colebrook on second guitar, and Fred Henfield on bass, and with even more Munnings relatives on horns.
The result was a unit tight enough to reproduce the vital alchemy it takes to pull a tune like this off; a seamless groove with enough muscle to stand up to being taken apart, with each player getting a solo spot. And then, the whole thing comes back together again, as if to prove how durable that groove really is, as if for sheer, joyous, summery bravado.
But, how did Nassau get so funky anyway? Read more
There have been many vital legendary musical venues that have helped to shape the destiny of pop music. But, few have the pedigree of the immortal Apollo Theatre in Harlem, New York City.
Since it was founded in 1934, several of the musical acts that now stand as pioneers in jazz, blues, soul, funk, rock, and hip hop got their start in this otherwise humble theatre located at 253 West 125th Street. And while these artists developed from beginners, to practicioners, to exemplars, and onto immortality, the world changed as a result.
Their work helped in breaking down barriers between musical styles, and also between groups of people who had been separated by the oppressive social norms of their times. As these norms were torn down (and good riddance), the music they made has endured, and the lives of music fans everywhere have been enriched.
Listing every artist that came out of the Apollo Theatre, or had career-defining shows there, would make for a very long read, indeed. So, as is my custom here at the Delete Bin, here is a list of 10 that I hope will suggest the wide spectrum of talent they represent. Take a look!
Listen to this track by neo-soul pianist, singer, songwriter, and R&B ingenue Alicia Keys. It’s “Fallin'”, the first single as taken from her debut record Songs In A Minor, a record that succeeded in making her the talk of the town when it was released in 2001. Part of that buzz was down to it’s classic feel, plugging into the spirit of classic soul music.
Further to that connection to music of past eras, the themes would be familiar too; a troubled relationship that cannot be denied, despite the pain that is associated equally with the pleasure it brings. This is certainly a common theme in pop music, and R&B music from a woman’s point of view in particular, from Billie Holiday’s take on “Ain’t Nobody’s Business”, to Aretha Franklin’s “I Never Loved A Man The Way I love You”, to Keys’ contemporary Macy Gray, with her song “I Try” by the end of the 1990s.
Listen to this track by Stax staffer, soul music innovator, and future South Park cast member Isaac Hayes. It’s “Walk On By”, Hayes’ expansive interpretation of the Bacharach-David pop hit that appears on 1969’s Hot Buttered Soul.
Hayes had been a stalwart songwriter at the Stax label, penning many hits for resident artists, most notably Sam & Dave, and their song “Soul Man”. But, the time between that song and the end of the decade was a wide one. A lot had changed. One important thing that had shifted was the standing relationship between Stax and Atlantic, the latter of which had distributed the former’s catalog from 1965. Atlantic had claimed Stax’s output when it in turn was bought by Warner in 1968 as per the contract signed by Stax founder Jim Stewart when the distribution deal was initially struck. The requirement to back-fill Stax’s offering with new work was suddenly a vital priority. It was the end of an era, and the beginning of a new one.
How did this turn of events help to establish Isaac Hayes as a soul music icon, a status that lasted over a forty-year career as a solo artist? Read more
Listen to this track by first graduating class members of the funk-soul school of hit singles Sly & The Family Stone. It’s “Family Affair”, the last number one hit they’d enjoy, and one included on their seminal There’s A Riot Going On album released in 1971.
By this time, the soulful togetherness that their material exemplified so well by the end of the idealistic 1960s had given way to darker, more claustrophobic themes that were perhaps more appropriate to the cultural landscape of the early ’70s. The war in Vietnam was raging with no end in sight, Kent State students had been gunned down by the National Guard, and Altamont had made the hippy dream of Woodstock into something of a zero net gain.
This shift in tone on this record also had a lot to do perhaps with leader Sly Stone’s descent into hard drugs, and his tendency to isolate himself from his band members in all kinds of other ways, too. This track was created largely without them, with Sly and his sister Rose taking on vocal duties, and with Sly playing everything else himself but for the Fender Rhodes (Billy Preston), and electric guitar (Bobby Womack). As for the drums, this song was the result of the earliest use of a drum machine on a mainstream hit. Technically then, this isn’t really a band effort in the strictest sense. But, neither was the rest of the album.
Nevertheless, it was a hit even if it would also be their peak. Despite some notable material afterward (“If You Want Me To Stay”, “Que Sera Sera”), it was all downhill from here for Sly & The Family Stone as a band. Maybe it’s appropriate that this was their last number one single, seeing how relevant the subject matter is to who Sly Stone was as a writer, and as an individual as a part of a group at the time. Read more
Listen to this track by Hammond B3 organ kingpin and soul jazz practitioner Jimmy Smith. It’s “Root Down (And Get It)” as taken from his 1972 live album Root Down Jimmy Smith Live. The record was recorded live in Los Angeles in February of that year. You can hear the clinking of the glasses which serve as a kind of unofficial percussion section as the patrons listen to the groove as it unfolds. And boy, does it ever.
Like Wes Montgomery with whom Smith partnered on many occasions, Smith was interested in the pop music side of the soul jazz spectrum. But also like Montgomery, Smith was a formidable improvisationalist even if some of his sides are viewed as a bit lightweight.
Yet, here on this cut, it’s the funk that really shines through. And it serves somewhat as a beacon of light for the music that would emerge in ensuing decades, too. Read more