One of the things that made Bobby Womack have such musical longevity is the fact that he was such a renowned songwriter playing even outside his own field. This was particularly true for the jazz world. George Benson’s iconic instrumental hit “Breezin” was of course composted by Womack. He also worked with Crusader’s sax/bassist Wilton Felder on the 1980 album Inherit The Wind. This album became a smash in London,and was likely part of the still gestating UK acid jazz scene. The man still continued to maintain his solo career-making a new album every year throughout the 7o’s. The decade ended in a very unexpected way for him however.
After dealing with a cocaine habit during his time recording with Sly Stone on his There’s A Riot Goin’ On,Womack lost his four month old son Truth in 1978. This apparently turned the habit into a serious addiction over the next decade. Still the man was on a musical roll. In 1979 he released his final album of the 70’s on Arista Records entitled Roads Of Life. I first encountered the CD during the late 90’s at Borders Books & Music. And only recently picked it up as part of a classic album vinyl reproduction box set of Womack’s Arista period. The album is seriously funky overall. The song that said it all for me was called “Mr. D.J. Don’t Stop The Music”.
After a screaming call to “come on with the music!”,the percussion accented drum beat rolls on with a wah wah pedal fueled Clavinet rings in the song. As the percussion increases,Womack and the band vocally contribute to the songs party atmosphere while a round,pulsing synthesizer and a funky harpsichord really pump up the choruses of the song. After the third chorus of the song, Womack plays one of his amp’d up blues/rock guitar solos. This goes into a piano solo fueled by climactic strings-bleeding into a wailing sax and back into a more rhythmic piano call and response. The strings segue out of this into the repeated chorus that continues on into the songs fade out.
Recorded at Muscle Shoals studios with former Motown Funk Brothers Jack Ashford and Eddie Bongo Brown (on drums and percussion),this song is another superb example of the type of orchestrated,danceable funk that could function very easily under the mirrored ball of the disco floor. The party sound vibe that always worked so well for the stomping disco/funk sound really brings out the groove as well. Womack’s ability to play and write funky music had really come into it’s own by the end of the 1970’s. And it really shows how much clout he held among the big funk/soul/jazz session players at the time that he could get together with them to jam out strong grooves like this one so regularly.