Category Archives: ballads

‘Prince’@37: A Sophomore Album That Wasn’t Treated So Bad

Prince 1979

Prince really did create a technical and musical marvel with his debut album For You. Still out of Prince’s two albums of the late 1970’s,its his second self titled effort that proved to be his commercial breakthrough. That is in the sense he had a tremendous hit with it. That hit was “I Wanna Be Your Lover”. This was late 70’s sophistifunk at its sauciest-with a sleek groove that’s both sweetly melodic,but has a full on chunky bass/guitar groove about it. It started off this album. And its also the song that many mainstream pop music listeners pre 1980 might cite as the very first Prince they’d remember hearing.

I first became aware of this record through a handful of its songs making the cute of Prince’s first anthology set The Hits/B-Sides. So its probably best to discuss those songs first. “Why You Wanna Treat Me So Bad” is a very mainstream rock tune with some glistening,melodic power chords from Prince on this song written by Andre’ Cymone. The other is a classic Prince one man band version of “I Feel For You”. This is the first version I heard. And due to that reason,much as I love Chaka Khan’s far more famous cover,that’s pretty much its own thing next to this version.

Whats so interesting about this album for me is 3/4 of it is slow ballad oriented. When I first picked up the CD pre-owned,all there was to listen to CD’s were undependable bar code scanners some stores had. So it was a surprised that some songs such as “When We’re Dancing Close And Slow” and “Still Waiting” were rather country western/pop flavored ballads. “With You” has a 1950’s doo wop flavor to its slow ballad flavor. Of the slow songs on the album,my personal favorite is “It’s Gonna Be Lonely”-which has a then contemporary progressive soft rock flavor about it with its processed guitar reverb.

My favorite song on this album of course is “Sexy Dancer”. This is almost an instrumental. Prince’s panting becomes a percussive element to this lean,mean bass/guitar extravaganza that points to Prince’s signature early 80’s funk sound. Not to mention the jazzy Yamaha electric piano solo he takes on the bridge. “Bambi” is the other rocker here. This is a crunching hard rock number too. The focus of the song is on Prince having a crush on a woman who turns out to be a lesbian-spending the chorus trying to convince her “its better with a man”-seemingly for his own physical benefit only.

In the end,I have to agree with Prince on this album. It served its function very well in getting more people interested in his music.  And as he implied,it did what it he intended it to do by featuring some strands of late 70’s pop music. On the other hand,Prince’s frank take on the sexual revolution of disco era and the albums general emphasis on funk made it clear the type of musician Prince would be. He would make melodies,rock out but never totally give up on the funk. In as much as it laid the blueprint for his commercial approach of the early 80’s,this album is a very significant one for Prince.

 

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Filed under 1979, ballads, classic albums, Funk, Minneapolis, Minneapolis Sound, Music Reviewing, Prince, rock and soul, rock guitar

Controversy@35: Funk For Those Who Don’t Want To Die So They Can Be Free

Controversy

Controversy,released on this day in 1981,is one of my very favorite albums of Prince’s immediate pre-crossover period. It came along at a time when he was heavily building his musical persona. Everything from his stripped down instrumental approach,the name Jamie Starr and around this period the introduction of The Time. First time I saw the album on vinyl,it was the basic Prince image I saw on the cover staring hard at me in front of some captivating faux newspaper headlines. The purple trench coat with the studded shoulder and his Little Richard inspired hairstyle were there-as well as the thin mustache.

Picked the album up on vinyl upon seeing this from Dr. Records,in its old location in Orono Maine.  Happily it still had the original poster inside showing Prince posing in the shower, wearing nothing but black bikini underwear.  Its also important to note I heard Prince’s albums almost in order,so heard this fourth in that line. The title track in its full version really got my attention. Especially where Prince is reciting the lords prayer over the pumping rhythm and funkified rhythm guitar before his chant at the end. My boyfriend told me this was the very first Prince song he heard while living Scranton,Pennsylvania.

That chant at the end of course was “people call me rude/I wish we all were nude/I wish there was no black or white/I wish there were no rules”. The albums major funky moments come in the slap bass and synth brass groove of “Lets Work”,one of his finest slices of funk of that time. He also provides one of his major funk ballads in the elongated workout of “Do Me,Baby”-written by Andre Cymone and featuring some lustful vocals and slap bass. “Sexuality” ably mixes a rockabilly rhythm and melody,chicken scratch guitar and new wave synthesizers. Lyrically it also provides a bit of the albums social manifesto.

“Private Joy” is a sleek post disco new wave pop number build around drums and synthesizers-plus a peppy,sexy falsetto chorus. “Ronnie Talk To Russia” is a short,punky new wave number with a rather narcissistic anti nuclear message asking the president to talk to Russia “before they blow up my world”. “Annie Christian” is a striking art rock type number metaphorically dealing with the issues of violence and gun control in the early 80’s. The album ends with sexually playful “Jack U Off”,which is a straight up synthesized version of 50’s rockabilly.

Musically speaking,this album really finds Prince solidifying his sound. The musical pallet is similar to its predecessor Dirty Mind. Production wise however,Controversy is a pretty slick sounding album that doesn’t have the previous albums raw demo like quality. The album also integrates funkiness into its instrumental approach. Many times in the general rhythm of the songs,a lot of them still fall into the retro 50’s rock n’ roll/rockabilly style Prince was dealing with at this time. At the same time,he showcased how R&B,funk and modern synth pop/new wave would represent a major part of the Minneapolis sound.

Conceptually this album is one of his most telling. The Prince of Controversy emerged as a concerned,conscious citizen who also had a mildly unknowing,socially conservative streak. A lot of it is Prince walking the classic soul music line between the secular and the spiritual. In one song alone for example he’s saying “sexuality is all we’ll ever need” and turns around to say “don’t let your children watch television until they learn how to read/or all they’ll know how to do is cuss,fight and breed”.  This mix of sexual freedom and social paranoia is a close early glimpse of Prince’s then developing social conscience.

Prince of course is no longer with us. And with a released catalog almost 40 albums strong in his lifetime,he’s told many different stories both musically and lyrically. My friend Henrique warned me not to try to chase Prince’s motivations because of how intentionally elusive the artist tended to be. For me,this album is probably the closest he came in the 1980’s to laying his soul bare. His feelings on sex,violence and religion are something he’s trying to reconcile throughout this album. Don’t know if he ever did fully reconcile them before he died. But the questions he asked here may be more important than the answers.

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Filed under 1980's, ballads, classic albums, Controversy, gun control, message songs, Minneapolis, Minneapolis Sound, naked funk, New Wave, Prince, rhythm guitar, rock 'n' roll, slap bass, synth brass, synth funk

Phyllis Hyman Double Feature

Phyllis Hyman

Phyllis Hyman comes across as someone with a strong creative ethic. She was a strong soul/gospel/jazz vocal powerhouse,not to mention an attractive,stylish 6′ tall physical presence. The arc of her life somewhat resembled Whitney Houston’s however,aside from the fact Hyman lack Houston’s family musical pedigree. Hyman’s adult life was marred by romantic woes,mental illness and addiction problems. This led to Hyman’s tragic suicide in 1995 before she ever saw her 50th birthday.  Still her music still connects with soul/funk music lovers with its spectrum of joy and pain.

After watching some of TV One’s series Unsung‘s episode about Hyman,it fairly quickly became apparent that throughout her recording career,record producers and songwriters simply didn’t know how to handle her voice. This tends to be a reoccurring theme with vocalists who are not in complete creative control of their songwriting and production. Her time in the late 70’s and early 80’s at Arista Records didn’t seem to be her happiest,as she and label head Clive Davis often clashed. Yet the two CD’s I have by her are her most commercially successful for the label. So I am going to overview them here today.

You Know How To Love Me/1979

Of course cannot tell you how many times I’ve heard Phyllis Hyman’s name dropped. And of course how little I’d actually heard of her. Well I blame myself. No good reason. I had this idea in my head she was primarily a balladeer. And there seemed to be a dime a dozen of those out there. Kind of the old idea about uptempo tunes dating fasted and slower ones being more timeless.

Well either way I must say that after hearing this album,I must say Phyllis was possessed of a vocal instrument defined by both great confidence and vulnerability. Now tonally? She’s a soul belter out of the blues/gospel school of singing. And her voice has a nice raspy huskiness to it that is actually quite appealing. Produced by James Mtume and Reggie Lucas I’d actually highly recommend this album as a possible first Phyllis Hyman album. There are reasons.

Two of those reasons right off the bat are the title song and “You’re The One”,both seriously intense gospel fueled Philly type danceable soul perfect for the disco floor and will have you singing to yourself with the same firey and intelligent tone as Phyllis herself. Of course there are two slower grooves here that blow me away too “Some May” and “Give A Little More” both find Hyman’s experienced voice working it’s way through some choppy sophistifunk type grooves.

On “Complete Me” it turns to this flat out epic type gospel/soul ballad type thing,the sort of sound I suppose I always associated with Phyllis. “But I Love You” has this tense and rather fanfare based disco-dance sound while the only song really bound by the era might be “Heavenly”. However nothing to worry about for the discophobes because even for them Phyllis gives it her all as she does throughout.

In the end the impression I get from Phyllis Hyman here is that she seems to function best as an album artist. Her vocal style has a need to stretch itself throughout the spectrum of soul musics sub-genres. And it’s a much wider spectrum than people think. Even within each off shoot of the music. There’s music here that has the ability the impact on fans of Philly soul,disco dancing and even foot stomping funk fans.

True it’s as bubbly and sophisticated a production as good champagne is to the taste. On the other hand every sound here serves to emphasize the talent whose getting the most credit. The participation of the Mtume band didn’t do any harm either. This was a recording oriented around a group of people with unique and special talent. And in this case,they got something extremely special out of Phyllis Hyman. So even if she’s not with us anymore,there’ll always be records like this.

Can’t We Fall In Love Again/1981

Admittedly I’m a bit late entering into the musical world of the late Phyllis Hyman. At this point? I actually only have two of her albums. She was one of those vocalists who moved between the worlds of jazz and funky soul. And always having an extremely talented bevy of instrumentalists at her disposal courtesy of her producer and original musical paramour Norman Connors.

Her entire creative approach matches up to the very qualities that have continually created some of the most dynamic and stunning music in the funk/soul/jazz/R&B spectrum. This 1981 album was her first of that particular decade. And upon locating it on CD? Picked it up without hesitation. Absolutely no regrets.

“You Sure Look Good To Me” is an extremely melodic horn and upbeat synthesizer based pop/boogie funk/post disco number-like a harder edged variation of the sound Richard Perry was then getting with the Pointer Sisters. The title song is a dynamic,Thom Bell like electric sitar led mid tempo love song duet between Hyman and the rich voiced baritone singer/bass player Michael Henderson.

“Don’t Tell Me,Tell Her” is a high stepping horn and slap bass Brazilian funk jam while “I Ain’t Asking” is an assertively romantic number from Ashford & Simpson-with their classic piano heavy and melodic early 80’s gospel/soul/funk style.

“The Love Too Good To Last” and “The Sunshine In My Life” are polished up,medium tempo pop/soul ballads while “Tonight You And Me” as a mixture of that Afro-Latin style drum and bass keyboard chorus of The Jackson’s “Shake Your Body” with a powerful post disco/funk/soul refrain. “Just Another Face In The Crowd” is a melodically epic slow pop ballad to conclude the album.

Well this is one of those albums where all eight songs are uniformly excellent,superbly produced and played on. Hyman herself provides the gospel/soul vocal phrasings of a jazzier and ballsier Dionne Warwick. At least to me anyway,and with an incredibly slippery and husky range as well. For lovers of early 80’s funk/soul music that’s powerfully performed and filled with a jazzy flavor? This might just be an album for you!


Phyllis Hyman offered us some fantastic soulful music. She also lived with bipolar disorder. And this possibly motivated her to end her life prematurely. For more information on bipolar disorder,or feel you may have it yourself,please go to the website below. Life is worth living!

National Alliance on Mental Illness’s Page On Bipolar Disorder

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Filed under 1970's, 1980's, Amazon.com, Arista Records, Ashford & Simpson, ballads, Clive Davis, disco funk, James Mtume, Michael Henderson, Music Reviewing, Phyllis Hyman, Reggie Lucas, soul singers, Uncategorized

Purple Rain at 32: Remembering The Day Prince Gathered Us Together To Get Through This Thing Called Life

purple-rain

Purple Rain is probably the big reason why most people are still discussing Prince. That was one of his major motivations for making the film and it’s soundtrack-to bring a broader audience into his sound. Interestingly enough,there is nothing in this album that Prince hadn’t been building to in some way since 1980’s Dirty Mind. Even Revolution members Lisa Coleman and Wendy Melvoin felt there was less of Prince’s trademark funk sound on this 1984 soundtrack. What this album did do was give the American public that impression that Prince was a full on rock star who served up an order of funk on the side.

That being said, Purple Rain comes out of his peak musical period. One in which he was brimming  with instrumental and melodic ideas. The key element of this album was drama. It’s accompanying film was a dramatic,semi autobiographical musical. There are plenty of Bic lighter raising moments on this album for sure. There are also some uptempo songs that still get people dancing even today. Growing up,I only knew one song from it well. But upon first hearing it 20 years ago,it felt like music I’d grown up on. That’s how dramatic it actually was-the sonic familiarity to engender false memories of it.

Many of Prince’s albums over the years deserve a rundown of it’s overall affect. As well as one that breaks it down song by song. Reviewing these albums on Amazon.com usually does the trick on that level for me. Today I’m going to do something a little different in analyzing Prince’s major breakthrough album. Purple Rain had nine songs on it. This article is going to give you that description of each song as it appears on the album. This is especially important as these relate to the plot of the film and the concert footage to be found within. So here we go with Andre’s rundown of the songs from Purple Rain.


“Let’s Go Crazy”

They key to this hard guitar rocker is fast paced,gospel joy. He even uses the synthesizer like a church organ in the intro-declaring that “we are here today to get through this thing called life”. Prince delivers several major guitar solos in the songs-including a slow dragging,feedback laden Jimi Hendrix-like grind at the end of the song. The 12″ inch take of this song is also worth checking out-with it’s stomping,chromatic walk of a piano bridge as heard in the film when Morris Day is first introduced.

“Take Me With U”

The big beat of the drums and orchestral synthesizer of this song leads you into thinking the song will be one thing-just before Prince segues into an acoustic guitar derived psychedelic pop/rock mid tempo number with Apollonia as his duet partner. It’s actually a very close relative instrumentally to other Prince songs such as “Manic Monday” and “Raspberry Beret’. It’s unexpected stylistic shifts match how it’s place in the movie shifts from Prince admiring a custom guitar in a shop window to driving with Apollonia through rural Minnesota on his motorcycle.

“The Beautiful Ones”

Basically this song is a very theatrical synthesized version of a European classical derived ballad. Prince sings and screams this song in a shaky falsetto. It’s one of the concert scenes of the film-one where the looks exchanged between himself and his leading lady Apollonia Kotero really help visualize all the electrified instrumental color of this song.

“Computer Blue”

This is actually one of my favorite songs on this album. It’s generally a very robotic synth rock number-very similar in style to the chilly electronic approach of his previous album 1999. On the bridge,the melody shifts as Prince plays a rather more jazzy melodic theme known as “Fathers Song”-actually composed by his real life father John Nelson. That juxtaposition of new wave/synth pop and electronic jazz bring this to life.

“Darling Nikki”

Prince unintentionally ushered in the age of the “Tipper sticker” on albums with this particular song. Again,it’s a very European classical styled rock opera number-heavy on the drum pedal at the end with Prince screaming “COME BACK NIKKI,COME BACK!” at the top of his lungs. His vivid tale of an encounter with a nymphomaniac was intended to repel Apollona in the film. Again,Prince writhing shirtless on his piano as Apollonia wells up with tears (and stomps out of the First Avenue during the songs performance) illustrates one of the darker,most hurtful elements of “The Kid’s” personality.

“When Doves Cry”

This was the first I ever heard of Prince. Never noticed it had no bass line. Didn’t know what a bass line was at age 5. It’s still not an easy song to describe. It’s very close to Prince’s earlier stripped down Minneapolis funk/rock sound. There’s also a synth playing a straight up European classical string section on the outro. Lyrically it’s a very dark song-with Prince musing on domestic discord/abuse as depicted by his parents in the film as being antithetical to peace: “why do we scream at each other/this is what it sounds like when doves cry”.

“I Would Die 4 U”

Prince spends the first half of Purple Rain as a very self centered character,with strong overtones of misogyny thrown into the mix. By this point,his film father’s suicide attempt has led him to understand himself and those around him. This is one of the more funk structured songs on this album-with brittle bass synth and synth brass playing call and response all the way down-with Prince declaring “I’m not a woman/I’m not a man/I am something that you’ll never understand”

“Baby I’m A Star”

Prince is back with the straight up tent show style uptempo gospel attitude on this song. With the synth horns on the latter half,this is likely the funkiest thing on the whole soundtrack-very similar in musical character to what The Time did on the soundtrack. It also has some strong singalong moments on the chorus.

“Purple Rain”

Most people who know Prince know of this song. With it’s live sound-especially Prince’s highly echoed voice and the string arrangements,it’s one of those arena rock ballads that’s always sure to get the Bic lighters raised by the audience. Hearing Aretha Franklin sing it recently on PBS,it reminded me how much gospel/soul still remains a part of this song-originally his apology to Apollonia for his poor treatment of her in the film.


Interestingly enough,Purple Rain not my favorite Prince album. Not even of his 80’s output. All the same,there’s something addictive about these songs. Each one of them has a certain allure. Some of it might just be the idea that this was the most public display of Prince’s normally somewhat shy persona.  One feels as if they know this man whose playing and singing to them. These songs are up close and personal-not distant. Often more rock then funk and soul-for certain. But it’s not music that anyone can dismiss or ignore. It got Prince noticed. And his purple musical journey was only just beginning.

 

 

 

 

 

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Filed under 1980's, Apollonia, ballads, electro funk, Lisa Coleman, Minneapolis, Minneapolis Sound, New Wave, Prince, Prince & The Revolution, Purple Rain, Wendy Melvoin

‘Lionel Richie’ (1982) from Andre’s Amazon Archive

Lionel Richie

Why am I giving five stars to an albums where I am not 100% crazy about every song?The simple reason is that,in terms of everything Lionel Richie is musically this debut album is one of his most overall richest experiences. Conceptually Lionel’s style of blending contemporary funk/R&B styles with slow,sentimental “countrypoliton” types of ballads really feels at it’s most down to earth and organic here. It would have been nice if Lionel had included more uptempo songs here but that is more of a preference on my part.But for those who feel the same way it is true.

The funk type tunes that are here are some of the very best he ever made.”Serves You Right” and “Tell Me” are great jams,more in keeping with a a kind of “naked sophisti-funk” type of groove then the more polished urban styled jams on Lionel’s final album with the Commodores In the Pocket.The other song of this type here is “You Are”-it isn’t exactly what I’d call funk but definitely a great peppy,uptempo R&B love song. It was really not a bad early solo hit for Lionel and frankly a musical style worth pursuing further.

Of course the majority of this album is weighed toward the ballad end of things,the style Lionel chose to make his musical calling but…….well to be honest not his greatest strength. Romantically and sentimentally satisfying fare such as “Wandering Spirit”,”Truly” and the brief final two cuts “You Mean More To Me” and “Just Put Some Love In Your Heart” are musically excellent for such slow-paced songs.However unlike with fellow Motowners Smokey Robinson,Stevie Wonder and Marvin Gaye,Lionel seemed to have difficulty inflecting his slow songs with any real sense of emotional expression.
Vocally these types of songs tend to come off as…well overly sentimental in his hand.He basically sounds like a black version of Kenny Rogers on these types of tunes and therefore it’s no doubt their musical connection and that Kenny appears on this album.Of course the bonus tracks really showcase another side of his talent.The demo of “Endless Love” shows the nucleus of a song that,while overproduced to the extreme in its final form really gives you an inside peek into Lionel’s technique as a composer with this demo having a more bare,folksy flavor.
The instrumental version of “You Are” is not only great to dance to but solid proof of Lionel’s 70’s-born concept that the catchiness of a great dance tune didn’t just come from the singing:it was the horns,the keyboards and most importantly the rhythm. If you a Commodores fan just getting into Lionel Richie’s solo music and want an easy starting point,in this case it might be best to start at the beginning here.
The next album Can’t Slow Down was of course hugely more successful commercially (not that this was any slouch in that respect either) but musically that album is a whole other beast entirely,for better or worse. This definitely finds Lionel with one foot in his past and the other in things to come musically and in any case is more than worth hearing
Originally posted on July 27th,2009

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Filed under 1980's, adult contemporary, Amazon.com, ballads, Boogie Funk, country/soul, Lionel Richie, Motown, Music Reviewing, post disco, Uncategorized

Andre’s Amazon Archive: ‘Neither One Of Us’ by Gladys Knight & The Pips

Neither_one_of_us_album

Even by the time I was seriously (and unfortunately) giving this CD the slip in the mid 90’s? There was that wondering what might’ve been if Gladys Knight & The Pips were given the full support and development within Motown. True they were around long before the label was. That being said?

They just bought so much uniqueness into the classic Detroit soul sound. As performers? They had the (then) forward thinking approach of having a woman as the lead singer with the male backup singers. Musically they presented the most important new flavors to the label’s sound. But that’s the main story behind this review anyway.

The title song,with it’s electric piano and the somewhat doo-wop version of “For Once In My Life” are both ballads built around the rhythm guitar. “It’s Gotta Be That Way” and “Can’t Give It Up No More” are more piano driven gospel soul slow jams. “This Child Needs A Father” is a spare,slow grooving Staples-styled Southern funk driven by wah wah along with the albums sumptuous,bluesy strings.

The grinding bluesy funk electric piano/rhythm guitar grind of Bill Withers’ “Who Is She (And What Is She To You),the another uptempo wah wah driven groove in “Daddy Could Swear,I Declare” and the Rhodes piano and percussion driven uptempo groove of “Don’t It Make You Feel Guilty” round out the album.

From where I sit? This is one of those albums where the vibe of every song just totally works on every level. The ballads have strong melodic,vocal and instrumental meat about them. And the uptempo numbers never,ever for a moment try to fake how funky they are. And it’s that Southern fried funkiness of Gladys & The Pips that truly brings this album to life.

The whole thing actually has much more of a Stax flavor than a Motown one to me actually. Even the way the orchestration is used. All of these songs tell stories and have messages straight to the listener-all focusing on romantic and family love. It’s warm,intimate and deeply rootsy funky soul that I very highly recommend.

Originally posted on May 27th,2015

LINK TO ORIGINAL REVIEW HERE!

 

 

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Filed under 1970's, ballads, Funk, funky soul, Gladys Knight, Gladys Knight & The Pips, Motown, Motown Sound, Southern Funk, Southern Soul, strings, wah wah guitar

Anatomy Of THE Groove for 6/19/2015: “Heroes” by The Commodores

By the time 1980 rolled around? The new decade found The Commodores as basically Motown’s premiere band. One capable of delivering on the hardest funk and the most delicately crafted,down home country soul ballads. Considering the band members all met at Tuskegee Institute,at the height of the civil rights and black power movements? It only seemed appropriate that as the less than certain social/racial atmosphere of the then new decade began to reveal itself? That the band would find a meaningful way to comment on the situation. This came in the form of the title song to the bands release from that year entitled Heroes.

Walter Orange starts of the song with a loud drum kick and proceeds to brush away lightly. All over a string and horn chart that descends into a stripped down ballad with Lionel Richie’s plaintive vocal lead accompanied by Milan William’s acoustic guitar-with accents from Ron LePread’s round slap bass licks. On the choruses? The drum kicks off into more of a big beat type sound-along with an almost rather staccato Brazilian type guitar lick. On the final refrain of the song? The band all join together for a heavy,bass/guitar driven funk stomp where the string section plays the bluesy melodic accents of that very same bass/guitar interaction right along with it.

Instrumentally speaking? This song showcases the strong musical breadth that The Commodores possessed during their prime. The focus of this song is often very spare-with the acoustic guitar,light drum brushing and bass accents leading much of it. In the tradition of mid 70’s Motown hits such as “Love Hangover” that showcased strong juxtapositions of groove and changes in tempo? This song starts out in a manner that doesn’t particularly suggest it’s ever going to be a funk jam. Yet that’s just what it becomes by the end. And it’s not an abrupt change. The changes in tempo,rhythm and feeling changes throughout the song-so the transition into hard funkiness is totally natural.

Much of the strong mood music this song presents comes out of it’s lyrical content. In addition to their Southern American heritage? Growing up in the era of the major civil rights gains of the 1950’s? This song eloquently and beautifully pays tribute to many of the historical figures and leaders who helped to advance the cause of liberation for black Americans over time. And interestingly enough does so without naming specific names. Well aware of the importance and rarity of them having black management in the personage of the late Benny Ashburn? This song basically speaks to the vital significance of being able to have internal icons black American’s can celebrate. In today’s world where some black people seem to all too easily apologize for even the cruelest of white racists? This is a song that I feel more young people today should hear and know something about in terms of it’s subtext.

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Filed under 1980's, ballads, Benny Ashburn, civil rights, Funk, Funk Bass, Heroes, Lionel Richie, Milan Williams, Motown, Ronald LePread, The Commodores, Tuskegee University