To 98.7 KISS FM: A Special Tribute to a Special Station

 Over two weeks ago 98.7 KISS FM, one of my favorite stations here in NYC closed ranks and merged with longtime rival, 107.5 BLS. Both are your standard rhythm and blues stations but KISS played slightly more oldies. It was devastating for fans who have been tuning in for the past thirty years. The city lost it's only smooth jazz station a couple of years ago and now is losing a historic r&b station, one that featured shows from popular syndication talk show hosts Michael Baisden and Al Sharpton. It's where countless of musicians and community leaders were given opportunities to share their voices with listeners across the city. They must now want adults to listen to the radio anymore. Thanks Nicki.

From colorofchange.org:

In the 1960s and '70s, local Black radio stations served as the political and social "drumbeat" of Black communities. At WERD Atlanta, the nation's first Black-owned station, DJ "Jockey Jack" Gibson regularly slipped political news and commentary between record plays. With WERD's studio located directly above the offices of the Southern Christian Leadership Conference, Gibson was also known to lower his mic out the window to Dr. Martin Luther King, Jr. whenever Dr. King wanted to make a statement on air.⁷

A large number of local Black stations were shut down after Congress deregulated the airwaves in 1996. This gave deep-pocketed corporations the green light to buy up thousands of stations in one fell swoop. To cut production costs, corporate owners slashed local programming in favor of nationally-syndicated content that could be broadcast across a large number of stations.⁸ The Community Low Power Radio Act was designed to bring local programming back to the airwaves by making broadcasting licenses available to nonprofit community groups and individuals.

The last time I blogged it was loosely about the death of black radio. If you are like me and are possibly interested in starting or working with a local FM station , join color of change's efforts in taking advantage of the recently passed, Local Community Radio Act. We need ensure that our voices are heard and our ideas are shared so our interests can be valued. This cannot happen if we do not have the platform community support radio affords us.

It's been awhile since I've posted here and I deeply apologize, but I thought I'd comeback with my favorite segment, Throwback Tuesdays. And this post, is dedicated to my beloved KISS that I will dearly miss. Within the comforts of my home, I like to pretend that I am a disc jokey. I rant a lot about social and political issues on facebook while blasting my favorite tunes and sharing with anyone who will listen. I may not become the next quiet storm disc jockey (my voice is too nasally) but is just a snippet of tunes I would feature on my show.

1. Stevie Wonder "As"

2. Amel Larrieux "Get Up"

The Old, Old, Old, Oldies

Most cities with a lot of black people have at least two or three radio stations that play oldies. The classics. The good stuff. But why do oldies stations primarily play music from the 70's, 80's and 90's? Soul Train was great but soul music existed way before the decade that brought us black power. Here are a just a few examples of great music your grandparents may know something about.

Papa Chele played Ben E. King's greatest hits album for at least twelve years straight. For an album that includes Spanish Harlem, you could imagine why. Many of you are familiar with King's song, Stand By Me. A former lead singer for The Drifters, he scored his first hit in 1961 with Spanish Harlem.

She was taken from us too soon but Dinah Washington left behind plenty of music for us to treasure. She passed away at the age of 39 from an accidental overdose. Despite such tragedy, Dinah is remembered as one of the most successful female singers in the 1950's. Is You Is or Is You Ain't My Baby is a 1962 recording but it was first written by Louis Jordan in 1944.

Speaking of Louis Jordan, it is only appropriate that he be included in this list, and heard on our radio stations today. Tell me this isn't soul you hearing! Not just soulful, but The Father of Rhythm of Blues was often comical and political. I first heard Beans and Cornbread on the Malcolm X soundtrack but other songs of his including What's the Use of Gettin' Sober, That Chick's Too Young to Fry and  Pettin' and Pokin'. Beans and Cornbread was recorded in 1949.

 

I really don't think this wonderful woman needs an introduction. Ms. Lena Horne, ladies and gentleman. 

Do ever wish for TV One's hit television show Unsung to make an episode about a certain artist you love? With his incredible career and many gifts, it would be great for younger generations to learn about Johnny Mathis and the contributions he made to music. Chances Are was recorded in 1957 and a year later, Mathis compiled a selection of chart-topping single he made with Columbia Records and created a Greatest Hits album, the first ever in history.

It's important to may homage to all the soul musicians that gave music we have learned and loved. Let us not limit our appreciation to music simply because it is more familiar to our ears. Artists mentioned above and their contemporaries laid the foundation for all of the sounds we groove and bop our heads to. So call your local classic soul stations and make the disc jockeys dig deep for those old, old, oldies!

Love Is Blind

Back from my pseudo hiatus, I had to come back hard for Throwback Tuesdays! I have been closely following the attacks being made against women's rights, specifically the "personhood" movement. Philly rapper Eve's 1999 hit, "Love Is Blind" seemed fitting for the climate of the times.

Songstress Faith Evans sings the hook beautifully, making 'Love Is Blind' sound beautiful, despite its somber message. The video is tragic and the song is poignant, being one of the few hip hop songs to highlight domestic violence. And for that, it is this week's Throwback of the week.

Mississippi Goddam!!!

Miss Nina Simone was one of the most profound musicians of her time. Whether she was singing jazz, blues, gospel or rhythm and blues, she often incorporated social and political themes from the Civil Rights movement into many of her songs. 'Mississippi Goddam' was written in 1963 in  response to two events that symbolized the escalating violence occurring across the country- the assassination of civil rights activist Medgar Evers and the bombing of the 16th Street Baptist Church in Birmingham, Alabama which left four little girls killed.

Well the country has changed significantly since this song was written, with extreme racial violence being considerably less common. And while Mississippi is included in that progress, the state is currently engaging in politics that could endanger the lives of many of its citizens, albeit way different from the days of race riots and lynchings. These citizens are women and the attack is against their (our) bodies, ostensibly their privacy. This is attack is being carried out by "Yes on 26," a campaign that to amend the state's constitution, defining life at the start of conception.

Mississippi Goddam!!!

Going Back to Our Roots

Word dropped a few days ago announcing The Roots' new concept album slated to come out December of this year. Entitled Undun, the album is going to be a “existential retelling” of the life of Redford Stephens, a man who was murdered at the young age of 25 in 1999. I was unable to find more information about Stephens but I am speculating that his story is one of symbolism, one that challenges common narratives of young black men while exploring the intricacies of "ghetto life." The band's drummer ?uestlove (Questlove) explains more:

"undun is the story of this kid who becomes criminal, but he wasn’t born criminal. He’s not the nouveau exotic primitive bug-eyed gunrunner like Tupac’s character Bishop in “Juice”… he’s actually thoughtful and is neither victim nor hero. Just some kid who begins to order his world in a way that makes the most sense to him at a given moment… At the end of the day… isn’t that what we all do?”

I think the concept, like the band itself, is brilliant. It took some time for The Roots to gain success in the mainstream, with their fourth album Things Fall Apart being the first to go gold. And although they have made it big, they have been able to stay true to their uniqueness. Hip hop fans respected the insightful content and complexity found in Black Thought's lyrics, giving the group street cred. Critics appreciated their artistry which blended traditional hip hop beats with jazzy, live instrumentation.

The Roots have continued to grow throughout their career with many of their music tackling a variety of social issues. Undun may not sell a mil in its first week like a certain, lesser talented, squeaky voiced rapper but I am expecting nothing short of greatness. I remember back when rap songs used to tell a story. Well, not really considering I'm only 22 but that is besides the point. Many great hip hop songs featured storytelling but to my knowledge, the concept has never been expanded to an entire album. So this December I'll be at the record store, coppin this album. Until then, I'll be rockin' to their throwbacks.

Mr. Magic Himself

I can't tell you how much I've been missing New York City's smooth jazz station. In addition to the classic rhythm and blues station, it played music that all generations in my house could enjoy. It brings back memories of the family either playing bid whist or lively chatting with each other about politics in the living room. Smooth jazz was easy to listen to in the background and its creation is largely due to the music of one of its pioneers, the late Grover Washington Jr.

His rendition of this Bill Withers' classic is one of his most well-known songs, mostly because of its crossover appeal. The jazzier version allows Grover to showcase his mastery of the saxophone, blending perfectly with the composition of the song. Much ado is made about the validity of smooth jazz, with some not even considering it to be a legitimate sub-genre of jazz. However, critics cannot doubt the talents of Grover Washington Jr. His improvisation was sophisticated, edgy and one some songs, down right funky.

This is coming from my favorite album from him and one of the greatest jazz-funk/ soul jazz albums of all time, appropriately entitled Feels So Good. What I admire mostly was his approach to jazz in general. Some jazz musicians like Miles Davis and Charles Mingus want to get you to think, and they were geniuses at doing so. Washington, on the other hand, wanted you to feel. His sax work was very advanced, but still melodic and smooth. I find myself "singing" along to Hydra or Knucklehead because he gets the saxophone to sound like the voice of a Motown soul singer.

Now this is my favorite song by him. Grover's recordings are always so relaxed, so it surprises me to see him perform so energetically. Everybody looks as if they are having the time of their life. This performance almost looks like a jam session. Mister Magic was so funky that its beat later influenced DC-based go-go music. But his contributions to contemporary jazz are why we honor Grover Washington Jr. in this week's Throwback Tuesdays.

Because I am a Queen!

This is dedicated to black women all over the world who are comfortable with their true essence. You got ninjas from Old Spice commercials and certain hairstylists dissing nappy hair. Even pseudo-pyschologists come up with bullshit science to prove our ugliness. Whatever! We stay fly!

India Arie is a phenomenal artist who's career should have flourished more. I enjoy much of her music, but decided to focus my attention on her breakthrough single for political and personal reasons. Most people appreciate "Video" for its uplifting message, one that says that we should embrace all characteristics of our beauty, including the quirks. Plenty of songs have been dedicated to our beauty but few have come from the perspective of a sister herself. This is worth noting because it allows us to define exactly what about ourselves is beautiful.

I've shared my past struggles with how I looked. Too often do young sisters like myself rely on others (re: men) for sense of self. This song was recorded over ten years ago but is just as relevant today as it was then especially inn a time where lacefronts are running a muck and Nicki Minaj is emblematic of what is desirable for many engaged in pop culture.India Arie did something amazing when she said to us, I will dictate what is beautiful about me. Of course she should! She's a Queen, after all.

*The numerous links are a celebration of the milestone we made with this blog and the incredible growth my fellow sisters and I have made over time.

Angela Winbush: The Voice of an Angel

Mama Chele stopped listening to contemporary rhythm and blues in the 90's. She couldn't get into the genre's continued merge with hip hop so whileI was growing up, tunes from the previous decade were heavily played in our living room. Through the speakers came music from Luther, Whitney, Anita, Teddy and Patti. I know each of these artists' music as well as I know the alphabet but absent from the list is Miss Angela Winbush, the songstress who topped the charts in the 80's, mostly as a part of the duo, Rene and Angela.

Hopefully you all are familiar with this song. With a perfect blend of soul and funk, it's arguably the biggest hit of their career, coming off their breakthrough album A Street Called Desire in 1984. They had a string of hits, including songs from their earlier albums including "You Don't Have to Cry" and "My First Love," the latter was covered and was a big hit almost twenty years later by Avant and Keke Wyatt.

"Your Smile" is my song! Mostly led by Angela herself, I believe it was a dedication to her grandmother. She and Rene wrote beautiful songs and other artists sought the two out for their songwriting skills. They wrote a few songs for Janet Jackson's self-titled album and then wrote exclusively for Stephanie Mills. From their music and videos it appeared as if Rene and Angela's chemistry was as perfect as their talent. However, on TV One's UnSung, Winbush revealed that their relationship began to sour and that Rene even was physically abusive towards her in the end.

Needless to say the two went their separate ways. He continued songwriting, most notably for Michael Jackson. Angela started her solo career off strong with the single 'Angel' where she showcased her amazing vocal ability. Her debut album Sharp happened largely with the help of Ronald Isley. It was his way of thanking her for contributing to the production of the Isley Brothers' album Smooth Sailing. Her career continued to soar for the following years and she even ended up marrying Mr. Biggs in 1993.

But with her success came tragedy. Though she continued to collaborate with the Isley Brothers, Angela and Ron divorced in 2002. A year later she publicly announced that she was diagnosed with stage three ovarian cancer. She also struggled with severe depression. Angela attributes her full recovery to her deep faith in God. Well we are happy to still have her here with us. Her music is a treasure and while she may not be as well known as other artists of that time period, her talents and contributions to the music world were undoubtedly significant.

Yo, What's the Name of that Song Again?!

Picture this. It is a Friday night and you're with your girlfriends and you all are getting down, releasing all of the energy built up from the many stresses of daily life. The DJ is doing their thing and everybody in the room is dancing their behind off, grooving to good music, young and old. But then that song comes on. You know, that song. You have heard it many times before and probably know most of the words. You love this song!

But what's the name of it? You want to add it to your iTunes library but can't do it without know either the name of the song or who sings it. So here is my Top 10 list of obscure jams that I have had to research in the past.


10. Freak Like Me by Adina Howard

9. I'll Do Anything For You by Denroy Morgan

8. Rock Creek Park by Donald Byrd and the Blackbirds

When Love Calls

This entry of Throwback Tuesdays! is going to be a little different from the rest. I usually do profiles of songs of artists I am already familiar with. And although I am pretty well versed with rhythm and blues of the 80's, I've found myself only recently getting acquainted with music from Atlantic Starr. So this Throwback is potentially a learning experience for us all.

I know this song, and apparently a few of their hits but never connected this songs with the artist. They were a solid R&B band, hailing from White Plains, NY. 'Secret Lovers' was their biggest crossover hit that ironically slowed down their career. Previously, they were already successful but confined within the soul music circuit, scoring a string of hits including "Touch a Four Leaf Clover", "Stand Up" and "Circles."

Their style was mostly typical of music of that era but the band's artistry was better than average. You can hear the slight funk influences from the previous decade in the bass guitar but their sound was more smooth, pairing perfectly with their lyrics of love.

T'his is my favorite song by them. I'm guessing they intentionally sought to expand their audience with 'Secret Lovers' but they should have stuck with their earlier style of music. Of course it is easy to say that in hindsight, but when fans are devoted to you, your music is already established. This happens to a lot of artists, but for some switching the style up has worked for them. Look at Mariah. With 'Vision of Love' she was straight sangin' but ten years later, she was parading around in a leotard, singing about butterflies and shit while sounding like a slutty toddler. *shrugs

So what do you guys think? Did Atlantic Starr's career fade away because of natural causes or was it their shift in style?? Maybe we have to wait for their 'UnSung' episode to find out.

Who Did it Better?

Last Christmas, I bought Papa Chele a Sam Cooke greatest hits CD. I am less familiar with music from that era than I am with 70's and 80's music but I knew of a few his classics including "Chain Gang" and my favorite "You Send Me." I was then surprised to found a familiar sounding gem, "Having a Party."

I found myself singing along, loosely, wondering where I had heard this song before. I didn't recall it being featured in a famous television show or something of that sort. But then it clicked! I was singing one of Sister Fiore Scott's favorite Luther Vandross' tunes! It was the 80's classic party jam, "Bad Boy Having a Party."

So we now have a battle of the remakes! This isn't my first time comparing two versions of a song, but this one is particularly difficult. Both men were incredible artists whose music heavily influenced the generations that followed them. Sam Cooke's career was cut short after he was murdered, but his string of classics helped to pioneer the beginning of soul music. His version of 'Having a Party' had the swing and bee bop that was typical of rhythm and blues of the early sixties.

Now Luther has an extensive collection of songs he remade. He turned many into bit hits for himself including his classic "A House is Not a Home," that was first recorded by Dionne Warwick and "If This World Were Mine,' a song first recorded by the power duo Marvin Gaye and Tammi Terrell. I love his version of 'Bad Boy Having a Party.' Luther definitely put his stank on it, incorporating elements of the style of funk music popular in the 80's. He put his signature style, but so did Sam Cooke. The question then is, whose style who prefer?

Ain't Nothing Like the Real Thing: RIP Nick Ashford

I'm sure you've all heard the news by now, and if you haven't you must be living under a rock or just reading the wrong stuff. Good thing you're reading our blog, ne?

Nick Ashford, one half of the amazing married songwriting duo of Ashford & Simpson, has passed away at the age of 70 due to complications with throat cancer. He leaves behind his wife Valerie Simpson and two children, not to mention a bevy of hits that have shaped the way many of us have grown up.

Nick Ashford had arrived in New York in the early 1960s, homeless, sleeping on a park bench, but determined to make it in the entertainment industry. He met Valerie Simpson in the choir at White Rock Baptist Church in Harlem [1]. The couple would go on to marry, but before then a songwriting partnership flourished, the pair penning hits such as Ain't No Mountain High Enough and Ain't Nothing Like the Real Thing for Marvin Gaye and Tammi Terrell, I'm Every Woman for Chaka Khan, and their own 1984 hit Solid (As a Rock). "They had magic," said Verdine White of Earth, Wind and Fire, "and that's what creates those wonderful hits, that magic."

I can still recall the times my father would blast Ain't No Mountain High Enough and remind me that there is nothing that would stop him from coming to help me wherever I am and whenever I need him. (Love you Daddy.)

Ashford & Simpson's songs and Motown hits have definitely helped shaped my love for soul and old school classics. My Temptations and Jackson 5 Pandora stations are definitely key and whenever Marvin Gaye and Tammi Terrell come on these stations I am belting out the lyrics right with them. It still breaks my heart thinking about how Marvin went downhill (in some aspects, while creating some awesome songs in) after her death.

But there was definitely magic between the two of them. Magic that created a union of music and love that would last for years. And even their own music was solid (pun intended).

Their music showcased their feelings for each other and really embodied soul. If I can find that joy with my husband I think I could be happy together forever, real talk.

I can only add to the RIPs that have been sent out to such a music pioneer. We have all been touched by his music if we have ever listened to Biggie, Beanie Sigel, Rob Base, or even Jessica Simpson. As that generation continues to get older, it saddens me to think of all the talent that will be lost. But I am grateful that their music legacy survives and continues on well after them.

Rest in Peace Nick Ashford and thank you for blessing us with such music gems.


[1] Big up to all the Baptists out there. 

The Culture Club

I loves me some blue eyed soul and few have done it so well as The Culture Club. Their music was a luxurious blend of r&b, calypso, new wave, soft rock and pop. With the sultry voice of lead singer, Boy George, the  band had an unique, soulful sound that paired well with fresh songwriting . The British band's talent catipulted them into international success but internal conflict caused their decline to be just as rapid.

Lets face it, Boy George was great. He had the whole glam rock thing going on (think David Bowie) with his colorful get up and playful persona. After accepting the 1984 Grammy for Best New Artist, he is quoted as saying, ""Thanks America, you've got style, you've got taste, and you know a good drag queen when you see one." I can't believe there was any doubt about his sexual orientation. When political correctness goes wrong. Anyway! He was fun, and now is crazy. But with his beautiful voice and fierce two step, Boy George was the perfect lead for an alternative-y band.

Their name was an intended reflection of the group's diversity, Boy George being Irish, Mikey Craig a Jamaican-Brit, the Jewish drummer Jon Moss, and an Anglo-Saxon Englishman Roy Hay who played the guitar and keyboard. Its likely that their mixed background gave way to their eclectic sound. George succumbed to serious cocaine and heroin addictions that would continue for years after the group's end in 1986. It was his drug problems and romantic conflict with drummer Moss (a long held secret) that led to their decline. It is a shame because with the string of hits they acquired in a short period of time, the Culture Club music could have mad them a powerhouse in pop culture history.

The Watermelon Man

I know how bootleg it is for me to be two days late with Throwback Tuesdays but I haven't been home, and for that, I apologize. I hope this edition of my weekly series (if you will) will make up for it.

For the last few months, I've been really getting into jazz. I grew up with a good amount of jazz music and am already familiar with a fair share of artists. My Mom was a big fan of smooth jazz artists like Anita Baker, George Benson, and Sade, to name a few. My dad also enjoyed the easy listening music and would always tune into Newark, New Jersey's famed jazz station, 88.3 whenever driving or cooking. So while I always had an appreciation for it, I now am doing research about its history, its many transformations and the lives and journeys of jazz musicians.

One musician who has struck my interest is Herbie Hancock. I am still unfamiliar with his much of his work but when I first heard the song, 'Watermelon Man,' I was amazed.

Hancock is one of the last musicians to have written a well known jazz standard, a musical composition that is often remade and rerecorded, making is widely known to listeners. Many jazz enthusiasts shy away from jazz funk, but I love it and I love the funk influence, though faint, in this song. The version above was Hancock's second recording of 'Watermelon Man," the first version was actually more traditional. I like both.

One of my favorite Latin artists, Afro-Cuban percussionists Mongo Santamaria, created his own version during the same year as Hancock's first recording in 1962. I could be mistaken, but I'm sure that will this is certainly latin jazz, the beat is a cha-cha beat. Whatever it is, it's also funky and fresh.

So here it guys! Throwback Tuesdays on CPT time. I hope you all enjoy.

Please T.E.V.I.N. Comeback!!!

This is the second straight post celebrating music from the 90's. Perhaps it is the nostalgia from Teen Nick's new lineup featuring some of the decade's best programming. Or maybe it is the dire state of the current economy, especially in light of the shitty debt deal that recently passed. But I would love to spin around rapidly in place, magically disappear in thin air and then discover myself fifteen years younger rocking pigtails and neon sweatsuits while jamming to my first crush ever, Tevin Campbell.

Tevin Campbell - Round and round by welcomeback

He was one of the hottest acts of the New Jack Swing era and had a voice that made you second his youthful age. How fortunate Tevin was to first be introduced to the world in 1989 with the hit song "Tomorrow (A Better You Better Me)" and then teamed up with Prince (OMG Prince!!) to record "Round and Round" which was a one of the leading singles from the Graffiti Bridge soundtrack. His first LP entitled T.E.V.I.N. dropped two years later, cementing Tevin's role a major player in contemporary r&b.

I have vivid memories rehearsing the lyrics and signing for "One Song" for my class' performance for our second grade graduation. Of course, his innocent demeanor and playful lyrics were acknowledged by listeners but he also had a knack for producing quality music. His second album I'm Ready, garnered Tevin another slew of hits including the title track, "Can We Talk" and "Always in My Heart." Unfortunately, his next two follow ups didn't get much traction, leaving his music career fizzled out. Tevin got a couple of gigs and was featured on a couple of television shows in the 90's but got his big break on Broadway when he joined the cast of Hairspray in December of 2005.

We are stuck with a generation of unimaginative, narcissists who can't hardly hum for r&b singers. We need your music's soulful swing. We need your beautiful falsetto. Point is, Tevin, we need you. The game needs you. So please, comeback!!!

Where Are All the Sistas with Voices????

Where are they? Stuck in the 90's, along with r&b music that was about more than just about popping bottles of champagne or yellow model chicks. The musical genre evolved over the course of the decade, beginning with new jack swing, while continuing to merge with hip hop and then ending with the explosion of neo-soul. I yearn for the days when r&b was more fresh and soulful. But that's not all. I am also missing girl groups. Sure there were incredible male groups from Jodeci to Mint Condition to 112, but here at sisterescape, ladies come first.

So for this Throwback Tuesday, I am going to feature just five songs from some of the best female groups of the 90's. Tell me if you approve of my selection. 

Although my favorite song by SWV was "Right There," I chose this because I know some of y'all forgot about this one. Since we're talking about sistas who were the shit in the 90's, I have to give props to Missy Elliot. She's one of the most talented and important in hip hop history.

Okay, this IS my favorite song by them.

Its okay if you all don't know this song by them, but Total was the go-to group for rappers who wanted a guaranteed hit. I could have chosen "Can't You See" or "Tell Me What You Want from Me" but this song was a sleeper.

Okay, 702 didn't have as many hits as the aforementioned groups but this song is featured on the 90's soundtrack so I had to include them.

Of course I had to include TLC. It would not have been a legitimate post if I didn't. This is my favorite girl group and this is my favorite song by them. R.I.P. Left Eye, you were an amazing talent with a vibrant spirit.

I hope my selection was enjoyable but I already know some of you are shaking your head while thinking, how in the hell could she forget____. So tell me, who would you have chosen?

I Found Lovin'

I know it is mad bootleg for me to be posting this week's Throwback! late into Tuesday evening and for that I apologize. To make it up to y'all, I brought my A-game with this week's edition:

The Fatback Band is often slept on, in my opinion. More known for their hits "Do The Bus Stop" "Let's Do it Again" "Spanish Hustle" and "Backstrokin," they made a lot of good quality funk and disco jams in the 70's. The Fatback Band is also credited recording the first rap song entitled"King Tim III" on the B side of "You're My Candy Sweet" in the spring of 1979. (Sugar Hill Gang's "Rapper's Delight" came out later that summer.)

"I Found Lovin" was one of their later singles, topping the charts in 1984. It's my favorite song by them. I like the swing and the obvious influence of the funk style of the 80's. While most of Fatback's hits came in the previous decade, they proved their talents by beautifully molding into the sound of the 80's but also still staying true to their funk and disco blend. For those of you hosting a BBQ this weekend, you better remember to include this jam on your playlist.

Throwback Tuesdays! Philly Soul Edition

Sis Le Chele finally let me have my way with Throwback Tuesday. I had been asking her since she had started if I could do one and had been giving her suggestions which she ignored. (Yes Le Chele I am throwing mad shade.) But she finally acquiesced, so here I am. This weeks Throwback Tuesdays takes a brief look into Philly Soul.

This is definitely my favorite genre, and yes Philly Soul gets a genre all by itself. It is not regulated just to current heavy weights like Jill Scott or Musiq Soulchild, but more importantly, Philly Soul was epitomized in the 1970s by huge groups and artists which created the Philly Sound.

This song is The Sound of Philadelphia by MFSB. And I'm sure you all know what used this and helped make it famous [1]. And if you don't, you should get smacked.

Some of the old school Philly Sound heavyweights have definitely showed the way for black and white soul and r&b artists. They have even given birth to some. One of the best known examples is Eddie Levert of the O'Jays, a key Philly Sound group, who gave birth to Gerald Levert- one of the most soulful r&b crooners of my parents generation. Damn shame both of Eddie Levert's sons passed before him.

The O'Jays are my favorite old school soul/r&b group. I've been sleeping on them for the longest, but once I reopened my mind, I was captivated. I could dance to them all night long.

Another Philly group, that goes down in infamy for having a member more popular than the groups namesake, is Harold Melvin and The Blue Notes. It famously spawned the great that is Teddy Pendergrass.

I know Harold Melvin was extra salty that Teddy blew up and that all the ladies in the audience was coming to see him not the group (aka Harold Melvin). And Teddy, oh Teddy, his music will live on as certified baby-makers. That voice can sing to me all night long!

Even more importantly, Teddy Pendergrass spent the years after his dabilitating car-crash, promoting awareness about spinal cord injuries. If you haven't seen his Unsung, you need to. It's fantastic.

And now I have to take a moment out to thank wikipedia. My background searching regarding the Philadelphia Sound led my to find out this beautiful little gem that made my day. The Stylistics was also a part of the Philly Sound. They have had some of the best known ballads of all time and the falsetto of Russel Thompkins, Jr. still gives me chills.

Philly stays winning. New York may have rap/hip-hop. But Philly has soul/r&b on lock. Just saying. And our current soul superstars aren't nothing to sweat over either.

Jill Scott has been holding it down as one of the best soul artists of our generation and Musiq Soulchild quietly keeps belting out stellar songs I will love til the day I die. Both their love songs are some of the most beautiful I've heard. And her sexy time songs aren't anything to sneeze at either. And if you haven't seen Jill in concert, then you are missing out. Seriously. She's on tour now folks, get some tickets. It's worth it. And it doesn't hurt that I've been told I look like Jill Scott more times than I can count. It's a beautiful thing folks.

Philly has made some beautiful music. Our Philly Sound has created some of the greatest songs and musicians ever. They were conscience, spoke of love, and could make a girl or guy ready to make babies. I just gave you a small bite of the large pie that is Philly soul. Don't sleep on our artists folks, and definitely go re-listen to the old school joints if you haven't in a while.

[1] Soul Train...


AN: I'm quite partial to this topic, being a Philly native, and if you don't dig these songs- you are crazy.

M.E.T.H.O.D. MAN

One of my favorite topics of discussion in the world of rap is the debate about who is the best rapper/ lyricist. Youngins whose balls have yet to descend often say Kanye West or Lupe Fiasco. Old school heads who once rocked asymmetrical flat tops, shiny Addidas jump suits and Kangol hats will say Big Daddy Kane, Rakim or MC Lyte. For Negrohemians obsessed with consciousness, like yours truly, the honor goes to Mos Def*, Talib, the Tribe or De La Soul. Generic ones who know no better say Biggie, Tupac, Jay-Z or even worse, Eminem.

Truthfully speaking, we all have different tastes and hip hop is too varied to have a title for best rapper. And what are we judging when determining a rapper's goodness? Is it their ability to create quality records that are consistently successful? Focusing purely on lyricism and delivery, it is surprising that Method Man is not given more recognition when discussing possible hip hop greats. His raspy voice and easy going flow allowed him to be featured on many hit singles from other artists during his extensive career. His rhymes are raw and always fresh. So for this week's Throwback Tuesday, I am giving the M.e.t.h.o.d. Man an honorable mention for one of the game's best.

I knew the lyrics of this song when I was 6 years old.

He started out with the WuTang Clan in 1993, he was one of the group's more visible members. He dropped his solo LP Tical a year after featuring the hit singles "All I Need" and "Bring the Pain." However, I prefer the songs he made when he teamed up with Red Man with my favorite being 'Da Rockwilder.' An unapologetic weed enthusiast, his lyrics are typically street-themed like the other 95% of rappers. But unlike 95% of other rappers, he is really good. And yes, Joe Budden, you are a part of that mediocre majority.

This song is BANANAS!!!!

*Mos Def is the best rapper alive.

A Madman in his Most Incandescent Bloom

There is a lot of thought that goes into my selection for Throwbacks! I'm a music freak and have a wide array of musical tastes. My favorites are neo-soul and funk but I love 90's house, 80's pop, 70's disco, 60's soul and 50's doo-wop. My two step stays steady when the DJ spins Frankie Beverly and Maze and best believe I go in when a hip hop club banger is played. And if I'm looking to be on that conscious tip, I can listen to Nasty Nas, Bob Dylan or Damien Marley.

Or Charles Mingus. Which leads me to my Throwback for this week.

A jazz icon, Charles Mingus was an accomplished pianist, bandleader and composer. He is however most celebrated as a bassist and was one of the leading musicians during the 50's, the big band era in jazz music. Mingus apparently was prone to angry outbursts and temper tantrums, earning him the nickname, the "Angry Man in Jazz." However, many of his song themes were reflective of his disgust of the country's racial oppression. Like other black musicians of that time, he incorporated his civil rights activism in his music.

In 1957, the Governor of Arkansas, Orval Faubus sent the National Guard to Little Rock Central High, blocking nine back students from entry into the racially segregated school even though they were already enrolled. The event further polarized an already divided nation. Hostility sparked from white racists who picketed the school in droves. They made lynch threats to the students and the civil right activists who protested on their behalf. Joining the chorus of those angered by gross racial injustice, Charles Mingus recorded "Fables of Faubus," arguably his most political work. The protest song was recorded in 1959, but Columbia refused to allow for the lyrics to be featured on the album. A year went by before the original recording surface.

What is old is new again. Music is kept alive by message and that is what I had in mind when selecting Charles Mingus' music for this week's Throwback. After a fabulous weekend with Sista Zipporah Pierce at the Gay Pride festivities, I am still celebrating my gay brothers and sisters being granted the right to marry in the state of New York. This was a major achievement for us as a society but the struggle for full equality remains arduous. Songs like "Freedom" and "Fables of Faubus" remind us of the tough path made for us to follow.