Tag Archives: Belinda Lipscomb

Anatomy of THE Groove: “Two In Love” by Midnight Star

Midnight Star are a band who represent something that this blog was founded on: showcasing unexplored directions in artists/bands music. One of the things about a lot of the early to mid 80’s electro/boogie funk bands is that many of the bands who helped developed it didn’t begin their careers doing that. Midnight Star are a prime example of this. The band formed in 1976 at Kentucky State University by the horn player Calloway brothers Vincent (who celebrates a birthday today) and his brother Reggie-along with singer Belinda Lipscomb.

When the band released their first album The Beginning Solar in 1980,they had a completely different sound than the more electronic grooves they’d start to develop by their next album in 1981’s Standing Together. Their sound on this debut was based around the horns in mid/late 70’s funk style-showcasing a very live instrumental sound with strong songwriting and brightness.With the exception of one song produced by Leon Sylvers,the rest of the album was handled by Harvey Mason. Including my favorite song on it in the closing track entitled “Two In Love”.

A high stepping Afro Latin march of a drum beat opens the album. The Calloway’s horn blasts segue into a pulsing synthesizer,an exploratory bass line and occasional muted trumpet accents from Reggie Calloway. This represents the chorus of the refrain. The refrain has a more conventional post disco dance beat-along with the bass/rhythm guitar interaction along with the strings. The bands brightly melodic vocal harmonies along with Lipscomb’s lead segue into each chorus. The bridge consists of a vocal improvisation where the chorus builds back into itself as the song fades out.

“Two In Love” represents one of my favorite types of funk. Its got just about everything in that respect. The climactic Afro Brazilian jazz/funk beat on the chorus,the textural mix of horns and synthesizers and a bright,gospel inspired melody. The sheer passion in this song goes right along with its epic instrumental groove. Its not likely that too many will associate Midnight Star with this particular side of their sound in the future. It not only surprised me to hear it for the first time. But was also surprised to find one of my favorite Midnight Star songs on their lesser known (and not particularly defining) debut album.

 

 

 

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Andre’s Amazon Archive for 4/18/2015: ‘No Parking On The Dancefloor’ by Midnight Star

No Parking On The Dancefloor

Midnight Star are very significant to the the funk scene because,creatively they represent a transition. Not only were they one of the very last large funk bands to form,but their first full length album The Beginning came out in 1980. So with no output during the 1970’s, Midnight Star were the first of the big funk bands to evolve solely during the 1980’s decade. While that album was complete live band horn funk primarily,their next two albums straddled two worlds-that of their live instrumental beginnings and the burgeoning electronic/synthesizer based world of what was then called electro funk and is now called boogie. 1983 was a huge year for soul/funk artists because the genre was back in business,and the post disco freeze out thawing as MJ’s Thriller was pretty much ruling the music world and bringing spirited funk based dance music into the public eye. Because the producer/writer/vocal/instrumental team of siblings Reggie and Vincent Calloway were as much strong melodicists as instrumental futurist,they now stood in the position to deliver the album that would solidify their sound for the rest of the decade.

“Electricity” begins the album with a hard funk grooves entirely based in the synthesizer as all of the instrumental elements. And of course “Freak-A-Zoid” picks right up on the same impulse-using a combination of vocorder and Belinda Lipscomb’s strong,Patti LaBelle-like vocals. Both musically and lyrically capture the spirit of the computer game/video arcade based pop culture of that time as a metaphor for the last days of the sexual revolution. Its on the other songs here that the album truly takes flight really. “Night Rider” takes a drum and bass/guitar sound from “Billie Jean” and applies it to a much more synthesizer oriented and electronic landscape. “Feels So Good” is a grooving “smooth groove” somewhat reminiscent of a jazzier pop take on “Sexual Healing” with Lipscomb’s strong vocals at center stage. “Wet My Whistle” has a melodic and percussive pop/funk sound very much out of the Reggie Lucus/Mtume/Madonna sound of that time and is one of my personal favorite songs here. The title song,copped later by The Bar Kays for “Freakshow On The Dancefloor” is similar to the opener-even including a vocoderized allusion to James Brown’s “I Got The Feeling” on the last verse. “Slow Jam” is a radio friendly contemporary pop/funk…well the title says it all. And it deals with a romantic dance at that. “Playmates” ends the album on a more melodic new wave friendly note.

I discovered this album in 1999 as part of a group of CD’s from a record store that had apparently gone out of business,and were on clearance at a local resale shop brand new for $1 a piece. It basically defined my headphone experiences for the rest of that year and even into the new millennium. Listening to it now,one of the things that’s so striking about this album is how strong the material is. The instrumentation,vocals and songwriting are all first rate,bright and have a party atmosphere that also has a strong elegance reflecting the more streamlined urban contemporary funk attitude of the early/mid 1980’s. Midnight Star created their first full on electro boogie funk album with this release,whilst still maintaining a nine member funk band lineup at the time. At the same time,they didn’t have the same sort of narcissistically cynical sexual world view as Prince and many of his protege’s did during that time. While they always had time for a little sexual fun on this album, everything was still stated with the 70’s era method of implicit lyricism. This is probably one of the strongest of the futurist minded electronic/synthesizer/boogie oriented funk albums of the early 1980’s. And showcases how much of the 70’s funk band attitude was still present in the more contemporary sounds of that era.

Originally posted on April 18th,2014

Link to original review here*

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Filed under 1980's, Amazon.com, Belinda Lipscomb, Boogie Funk, electro funk, Freak-A-Zoid, Freakshow On The Dancfloor, Michael Jackson, Midnight Star, Music Reviewing, Prince, Reggie Calloway, Reggie Lucas, Thriller, Vincent Calloway, vocoder