Forgotten Soul Music: Part 2

This time, rather than dealing with news topics, it's gotta be Soul music once more, so excuse me while I bring out my inner Frankie Crocker. The last time I did this a few months ago, it went over well and lots of people told me they got up and danced when they hear the tunes I selected.

So here are some more beginning with this wonderful 1968 duet from the late Marvin Gaye and Tammi Terrell, two people who absolutely made love with their voices, and who both died tragically, far too early. Younger folks will be familiar with the cover by Method Man and Mary J. Blige. ...







Okay, maybe Frankie Crocker would not have played Jimi Hendrix, which was a major complaint of his back in the day, that he couldn't get any airplay on black radio. But looking back in retrospect, there's no denying the soul in this brother's guitar rifts. This is a classic performance of his at the Isle of Wight Festival in 1970, just a few months before his untimely death.





The same year, Sly and the Family Stone came out with this good-weed-on-Friday-night anthem. I consider this to be the beginning of the funk era in Soul music. At this point, R&B evolved from how the record companies told artists to present themselves into a kaleidoscope of images and ideals, invoking a new black identity and paralleling the prevailing black attitude of the times.



It's my feeling that no Soul music collection is complete without Stevie Wonder. Now, this is a rare groove from him, but still a classic. He's got such a large catalog that it's really hard to figure out where to start. So here's one of my personal favorites of his from 1972.



Most people recognize the brilliant composing duo of Daryl Hall and John Oates as what is called "blue-eyed soul." That means white artists who do R&B music. There have always been plenty from Carly Simon to Teena Marie to Simply Red. This 1973 song, I think, set the standard for breakup ballads.



Let's slow it down for a bit. It took Ronald Isley years to convince record companies to put he and his brothers' faces on their album covers. When they did, their songs had proven to be much bigger hits than they ever had been when they started out in the 1950s. By 1974, there was no question that they shared the top of the Soul world with the best out there. This beautiful cover of Todd Rungren's piece makes it clear.





I don't know why this joint does not get more airplay, even on so-called "old school" stations. To me it's the beautiful Minnie Riperton's signature piece, which came out five years before her untimely death in 1979.



Real quick, go upstairs to the attic, open up the trunk, throw on the double stitched hip huggers (you know you still have them) and then hit play below. This rare 1975 groove from the Crown Heights Affair took over every lock-popping competition in every city when it was hot.



I don't know what it is about the year 1976 that made music so good. Did every songwriter feel like they needed a bicentennial moment? Anyway, peep this float theme from Denise Williams.



Then dig my favorite from the Car Wash soundtrack. You may take it for granted, but this is one hell of a composition.


And finally, this is probably the best overall musical performance from the Jacksons. It came out on their first album after completely breaking with Motown, dropping the "5" from their name. This was also the beginning of Michael's emerging as an adult superstar. You can see that in their short lived CBS variety show. Say what you will about the gloved one, but make no mistake: He is the greatest entertainer of all time.



Honestly, Earth Wind & Fire deserves its own blog posting. Another band with a rich, rich catalogue that begins in the late 1960s. The reason they are so powerful is because they continued to reinvent themselves. Their art was as much concept as it was music and you didn't just listen to EWF, you experienced them. Their megaconcerts were a true spectacle that proves music videos never really enhanced the record industry.

You all know their classics, but for now, let's spin you with this 1977 flavor which, of course has Phillip Bailey's magical vocals.



Back in the 70s, my brothers and their friends were high-schoolers, while I was in elementary school. I remember listening to their music, watching their cavalier, badass attitudes, emulating their street slang and waiting for the day I could be that cool. But these were the coolest M.F.s in the neighborhood, took no shit, dressed suave as all get out, and had all the girls jocking. This 1977 groove is one of their theme songs.



Man, there is one individual who it pains me that I can't use here. But he does not allow his material to be used online. It's a big controversy and it hurts no one but him and it makes it clear that he's at odds with his legion of devoted fans. In fact, if you go to his website, you get nothing but a black screen. Since he doesn't want a web presence, then I'm not even going to mention his name. Hopefully, his messed up attitude will change, and we will be able to enjoy his music online, in the stores or however we choose to get it.

Let's skip up to 1979. Patrice Rushen is currently regarded as one of the world's best jazz pianists. But back in the 70s, when she was in her 20s with those sexy braids, you couldn't buy better lovemaking music.


By the early 1980s, everyone had heard of New York's Studio 54. But as a rule in the Big Apple, anything everyone has heard about is automatically corny and square. The real joint was the Paradise Garage, which featured resident DJ, the late Larry Levan, who is regarded as the founder of modern club turntablism.

One of his favorites (as well as those who showed up in droves on gay night) was this Loose Joints jam from 1980, which has since been remixed into a classic house music tune.



While we're at it, peep this rare 1983 groove from Status IV, another club classic for back when dress codes, perfect hair and actually knowing how to dance was an unadulterated standard at any lounge.


Look, I know most people will disagree with me on this, but I've got to include this one on my list. To me, this 1985 beat from the Fat Boys is the single best rap composition of all time. Lyrics and semi-silly video notwithstanding, the flow is as nice as anything you'll ever hear, the beat is dope, and it is designed for both mixing and dancing. An all around great song from a time when Hip Hop was fun.


Full disclosure here: Sade is more than my favorite artist. She is more than a singer/composer. She is more than a woman. She is more than a goddess. Frankly, I feel unworthy to type her name on this blog. But I must share her with you in order to somehow please my mistress. I was at this concert and I saw her give the begging crowd a live rendition of this 1988 audible nectar.



Another one many will disagree with me on, but Michel'le, currently known as Mrs. Suge Knight, should have been what Mary J. Blige became. I remember her album stayed in rotation on most urban radio for two straight years, and a slow dance favorite was this 1990 tune, which was backed by an in-their-heyday N.W.A.



In 1997, the film Love Jones was a date movie turned instant cult hit that solidified in American pop culture a phenomenon that it is now about to elect to the White House: educated black people. Part of its wonder was a sountrack that introduced Soul artists that did not seem commercial. Arguably, the most memorable track from it is from Dionne Farris.



Listen, I'd better quit this before someone sues me for copyright infringement. But before I go, I want to sweep you into the new millennium with an artist who does not get the props she deserves, but you really should go see her live if you get the chance because Vivian Green is one of the best live talents in the industry today.