Tag Archives: Stax

Anatomy of THE Groove: “Joy” by Isaac Hayes

Isaac Hays, born in Covington, Tennessee in 1942 was raised by his grandparents. He was encouraged to finish high school several years after dropping out due to the encouragement of his teachers. After turning down musical scholarships from several universities, Hayes began performing in the late 50’s as a teenager. By the mid 1960’s, he and David Porter became one of the major songwriting partners at Stax. Especially for the duo Sam & Dave. His solo debut Presenting Isaac Hayes wasn’t a big success in 1968. But its jazzier orientation pointed in a vital new direction for his music.

By that time, Stax was in trouble. Otis Redding had died with most of the original Bar Kays in a plane crash. And Atlantic Records had absorbed most of their back catalog. As a label functioning with no music, label owner Al Bell decided to have its remaining artists to record 27 new albums to give Stax new content. Hayes’s sophomore album Hot Buttered Soul was the most successful in 1969. Its extended, jazzy and psychedelic treatments of his own songs and interpretations became his signature sound. Even through his record breaking 1971 soundtrack for Shaft.

With Shaft, Hayes had basically created the production template for the disco era. That was elongated dance songs with heavy string and horn orchestration’s. As the disco era arrived in earnest, Hayes mid to late 70’s albums swam right along with the tide his earlier 70’s works had initiated. Not to mention his continuing soundtrack work for movies like Truck Turner and Three Tough Guys. As similar artists like Barry White ascended to popularity, some of Hayes’ albums got lost on the musical public. One of them was an album with an amazing title song entitled “Joy”.

A 7 hit drum beat (with plenty of hi hat around the middle) starts off the song at an approximately 80 BPM’s-which continues throughout the rest of the song. Then the snaky bass and distant seeming wah wah guitar accents chime in. From there, the strings rise up in volume right into the song-spiraling horn charts in the back round. A sustained organ swirl also joins the mix. A bluesy fuzz guitar plays to Hayes’s vocals. On the b section of the chorus, the melody gets a bit higher key with the orchestration.  The song fades out with a long,grunting extended refrain.

At almost 16 minutes, “Joy” is one of those early 70’s funk operas. It actually reminds me a little bit of Barry White’s “I’m Gonna Love You Just A Little More Baby” from the same year. Its among the faster of Hayes’ usual extended ballad approach of the earlier 70s. Still, Hayes’ distinctive psychedelic and jazz tones keep this distinct as cinematic soul/funk was becoming more the mainstream at the time. And its for that reason that its actually one of my favorite Hayes’ solo numbers along with “Theme From Shaft”, “Groove-A-Thon” and his epic version of “Walk On By”.

 

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Anatomy of THE Groove: “Disco Lady” by Johnnie Taylor

Johnnie Taylor has been a consistent conversation point between Henrique Hopkins and myself. And it was always in reference to him being a 60′ era soul singer who recorded and did consistently well with audiences up through the mid 90’s.  The West Memphis, Arkansas native got his start as Sam Cooke’s replacement in the gospel group The Soul Stirrers. In 1965, Taylor signed to Stax records. He became one of the labels major stars,leading to his nickname as “The Philosopher Of Soul”. After Stax folded in the mid 70’s,Taylor signed with Columbia-where he remained for nearly a decade after that.

Johnnie Taylor is also one of those artists who I knew about long before even knowing his name. That was from dancing around as a pre-teen to his major pop Top 10 crossover funky soul hit “Who’s Makin’ Love” from 1970-hearing it on oldies radio all the time.  In fact,that was a song I almost reviewed today. But there’s another song of his that came out half a decade later of his. One that Nelson George described the success of so wonderfully in his book The Death Of Rhythm & Blues. And musically,it has a surprising twist for me that I’ll get into after describing it. The name of this song was “Disco Lady”.

The drums kick right off into a slightly delayed 4/4 dance beat,accented by shaking bells. A high pitched melody on electric piano opens up the melody,which is accentuated by an equally melodic eight note bass line and a pulsing wah wah guitar. On each part of Taylor’s chorus,the horns accent his vocals in different ways. Sometimes with hard pulses,other times with a building sustain. On the bridge,the rhythm becomes a bouncing march before it melodically builds back into itself-complete with fanfaring horn charts and rubbery keyboards. The refrain repeats itself consistently until the song fades out.

“Disco Lady” is actually one of those fairly stripped down disco era funk songs where the instrumentation and the vocals are both designed for a slinky,sneaky attitude as opposed to a raucous one. As for that surprising twist I mentioned,it became known to me years ago that Taylor was backed up by P-Funk musicians on this song. Bassist Bootsy Collins, the late guitarist Glenn Goins and keyboard maestro Bernie Worrell and drummer Jerome Brailey play on the song. Along with backup vocals by Dawn’s (as in Tony Orlando) Telma Hopkins singing the backup vocals singing the chorus.

This song doesn’t exactly have the sound I would ever associate with P-Funk. And certainly not Tony Orlando & Dawn. But its songs such as this that have the power to help people understand how musicians function. If someone reads the liner notes to albums and look for names online,they’ll often find out that the best musicians in the funk,soul and jazz world especially have an expert sense of musical diversity. They know how to give a song what it needs-whether its based more on singers or instruments. And at least to me,that ethic is one of the major contributions of “Disco Lady”.

 

 

 

 

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William Bell and the need for legacy soul radio

William BellWilliam Bell and the need for legacy soul radio

By Ron Wynn

 

William Bell, classic soul and the need for legacy radio

By Ron Wynn

Many years ago (early ’90s) I made a trip to Chicago for my first face-to-face meeting and interview with the legendary Iceman himself, the great Jerry Butler. It was for a CD-Rom project (a technology that has long since faded into oblivion), and we had a wonderful 90-meeting plus conversation on a host of topics. The only time Butler got agitated during our entire encounter came when we talked about the problems he’d had with a recent album he’d recorded for a Southern Soul label (I think it was Urgent, but it was a long time ago, so it might have been something else).

“It’s OK for Tony Bennett to make new music, it’s OK for Barry Manilow or whoever to make new music, but for whatever reason I can’t get the radio stations to play my new music,” Butler complained. “They will play my old hits, but these new PD’s won’t give my new music a shot.” I recall that lament while listening to the songs from another soul legend’s latest release. William Bell may be the most underrated great male soul singer and songwriter active today. If not, there aren’t many others in the conversation.

If Bell had only written “You Don’t Miss Your Water” and “Born Under A Bad Sign” (along with Booker. T. Jones) those two are enough to certify immortality. But they are only the tip of his compositional iceberg. William Bell has been penning and singing glorious numbers since his teen years, and the new release “This Is Where I Live” (Concord/Stax) stands as both a wonderful retrospective portrait and a work every bit as good as anything coming from vocalists half or more of his 76 years. The title track is a glorious, demonstrative declaration of career achievements, sung without a hint of regret or pity, while “Poison in the Well” has that wonderful combination of irony, edge, heartbreak and the quest for salvation at the base of all great soul, country and blues tunes.

He also updates “Born Under A Bad Sign,” bringing in the wry understated tones that made it such a rousing hit for Albert King, while taking it just a bit slower, but with equal stature and resolve. The album is getting rave reviews everywhere, from NPR to The New Yorker. These are heady times for Bell, as he’s also featured in Martin Shore’s highly praised film “Take Me To The River,” and he even appeared at the White House in 2013.

There’s only one thing missing here for Bell, and it’s the same problem faced by Mavis Staples and Betty LaVette, two other superb veteran soul artists making wonderful and contemporary music. Other than specialty shows on college, community and public radio stations or internet sites, there’s not many places you hear their current music. Urban radio’s already super-tight playlists won’t even air the songs of many youthful Black acts whose sound doesn’t fall into a carefully defined, easily identifiable blend of heavily tracked vocals girded by hip-hop refrains. That’s not to dismiss out of hand the many talented and popular performers out there in the urban sphere, nor to vilify their sizable audiences. These stations make money for the corporations that own them, the artists they play sell out concert houses and get lots of airplay via streaming. A few of them even still sell a lot of physical product.

But there should still be a place where you can hear William Bell or Sharon Jones and the Dap-Kings without having to pay a monthly fee. There’s a sizable constituency in the Black community for instance that doesn’t listen to  specialty or satellite radio, and isn’t really into downloads or getting everything off the Internet. These are the people who regularly attend shows at places like the Municipal Auditorium in Nashville whenever acts like The Spinners or Artie “Blues Boy” White (to name just two that you also don’t hear on urban radio) appear.

This is the audience who would no doubt love an album like “This Is Where I Live” if they even knew it existed. Even the syndicated radio programs like “The Tom Joyner Morning Show” or “Steve Harvey Show” seldom air anything by someone like Bell. They generally play old-school funk and soul hits of the ’70s, ’80s and ’90s, or lately even blending in current material from recognizable urban artists, even those whose music they have to censor to fit their format. Plus there is as much emphasis these days on celebrity gossip and politics as on music, perhaps even more in some cases.

With June being either Black or African American Music month (depending on your preference), what is really needed to fill this gap are more legacy stations devoted to airing the entire spectrum of Black music. As someone who grew up in the era when there were far more Black-owned radio stations, I can recall a time when great personalities would introduce you to all types of wonderful performers. They still played the hits to be sure, and blues, jazz and gospel were already mostly restricted to weekend specialty shows. However that music did still get aired, and there were occasions when a Ramsey Lewis, Les McCann/Eddie Harris, B.B. King or Edwin Hawkins Singers would break into the main rotation alongside the other Motown, Stax and various hits of the day.

Today, an artist like William Bell or Mavis Staples has almost zero chance of getting on an urban radio station. Staples can open for Bob Dylan, but you’ll only hear cuts from her current music on specialty shows. To those who say the same thing is true for Paul Simon or Bob Dylan, neither of those people need radio airplay at this stage of their career. It would be pure icing on the cake for Simon to score a hit, but it would really mean something for William Bell to have his music heard by a larger audience, particularly those in the Black community who still remember “Trying To Love Two” or “You Don’t Miss Your Water.”

A natural place for this to happen seems to me satellite radio, which already has a number of special formats dedicated to Black music. I don’t know if you’d call it legacy radio or updated soul sounds or whatever, but there’s certainly enough of this 21st century soul being made to merit exposure. After all, you’ve got the likes of Leon Bridges playing at Bonnaroo, Staples out there with Dylan, Bell drawing big crowds on his current concert swing, and even some in neo-soul wing like Anthony Hamilton and Angie Stone who also could work in this format.

In the meantime, I hope the handful of Black-owned legacy stations out there in the broadcast sphere like Nashville’s WVOL-1470 AM are giving this new William Bell a lot of exposure, because it deserves it. Not only does it NOT sound like a retro project (the biggest complaint I’ve heard about people like Bridges and Hamilton from contemporary music programmers), but it’s also a wonderful indicator that soul in the greatest sense is timeless, and that William Bell is still one of its finest performers.

 

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Filed under Booker T Jones, internet, Jerry Butler, old school, Radio, Soul, Stax Records, Uncategorized, William Bell

Anatomy Of THE Groove For The Brothers And Sisters Who Aren’t Here: “Funky Broadway” by Wilson Pickett

Wilson Pickett is yet another artist whose music was extremely familiar to me before even knowing his name. “Wicked Mr. Pickett” started out in a gospel group during called The Violinaires in the mid 50’s.  This led him to fame with the soul group The Falcons,who helped popularize gospel music to a broader audience. Pickett eventually got signed to Atlantic Records in New York where he recorded sides such as “If I Need You”,a ballad that the labels’ Jerry Wexler ended up giving to Solomon Burke. Burke himself liked Pickett’s version,but he had a huge hit with the song. So a dejected Pickett decided to focus less on soul ballads and more on uptempo numbers once officially signed to Atlantic.

Pickett’s mid/late 60’s recordings at the Stax in Memphis and Fame.in Muscle Shoals have become iconic songs. Especially in terms of marking soul music’s evolution from gospel based balladry into uptempo funk. Songs such as “In The Midnight Hour”,”Mustang Sally” and “Land Of 1000 Dances” came out of this era. One thing however that stands out to me is when an artist making funk music shows a lot of positive pride in declaring themselves to be funky. One such song from Pickett came courtesy of a band known as Dyke & The Blazers,written by it’s leader Arlester Christian in 1967. And the name of this song was”Funky Broadway”.

The bluesy guitar riff of Chip Moman opens the song. The rhythmic body of the entire is based on a thick,cymbal heavy  beat from drummer Roger Hawkins,a rhythmic organ from Spooner Oldham and the crunchy bass of Tommy Cogbill.  On the second chorus of the song, the horn section comes in playing call and response to Pickett’s vocals. They raise up in intensity as Pickett’s vocals grow even more powerful. There’s a bridge where Hawkins’ funky drumming is singled out with the bass/guitar interaction-with Pickett grunting along rhythmically. The horns are huge,thick and heavy on the final choruses of the song before it fades out.

This song fits pretty neatly into the vein of Wilson Pickett’s other mid/late 60’s uptempo numbers. They were all starting to move heavily toward funk. This song came out in 1967. It was the same year Aretha dropped “Respect”,and James Brown bought uncut funk to the masses with “Cold Sweat”. So Pickett and Chip Moman’s band were really bringing the gritty,countrified,slower tempo Southern soul dance thump into the funk process as it was actually happening. Again it cannot be stated enough how important having the word “funky” in the title of this huge hit song was to funk as a genre,rather than a mere musical term. So here Wilson Pickett officially earned his place in funk history.

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Filed under 1960's, bass guitar, Chip Moman, drums, Funk, horns, Muscle Shoals, organ, rhythm guitar, Southern Soul, Stax, Uncategorized, Wilson Pickett

Anatomy of THE Groove: “Bang Bang (Stick Em Up)” by The Bar Kays

The Bar Kays have and will probably always continue to funk’s most enduring band for two important reasons. One is that they’ve continually recorded for nearly half a century at this point-always re-imagining the new sounds and grooves of each new time period. Another is that they survived all but two of their original members dying in the same plane crash that killed the singer they backed up: Otis Redding. James Alexander is the only one of these two still in the band. But these Memphis soul survivors have never failed in some way to give up the funk with verve and vitality. And the 70′ were a huge breeding ground for their burgeoning search of the perfect groove.

After 1975  the reformed band,who’d modeled themselves into something of a Southern version of Funkadelic,their original label Stax folded. This put them into a position of having to sign with Mercury Records. Since that was the home of fellow funkateers Ohio Players at the time? It was an excellent move. The Bar Kays first album for the label entitled Too Hot To Stop came out in 1976. There was no shortage of strong funk within it’s eight songs. And it was kind of hard to pick which one to talk about in all honesty. But there was one leaped out at me. One that carried a sound I’d never really heard come from any of their grooves before. It is called “Bang Bang (Strike Em Dead)”.

The band are calling out to each other in rough Spanish or Portuguese from the sound of it over the kinetic Brazilian drums of the intro-just before the Afrocentric percussion comes into play. On the main groove an acoustic piano,Clavinet and a bopping bass are all having one serious conversation as the horn section rises from below into the mix. On the choruses? There is a big descending synthesizer melody along with the wordless, harmonized vocalese of the band members. As the song progresses,the horns begin to take faster and more elaborate solos as the vocal chants and calls of the group members become a total instrumental element all their own.

Somehow the Bar Kays heavy Southern fried funk took on a whole different groove on this song. The thrust of this rhythmically is an Afro-Brazilian groove with somewhat jazzier flavors to the melodic construction,and the nature of the vocals. One thing it continues to carry over from the bands signature sound is it’s extremely high energy and fast tempo. And that’s one thing I’ll say about the Bar Kays. While normally a slower tempo music when you listen to it? The funk this band often came out with was very uptempo and fast paced. And the strong musical Afrocentrism of this percussion based jam really helped to calcify this bands way with strong,thick uptempo funk.

 

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Filed under 1970's, Afro-Cuban rhythm, Funk, Funkadelic, horns, Memphis Soul, Mercury Records, Ohio Players, percussion, Stax, synthesizers, The Bar Kays

Seeing The Music: Andre’s Guide To Funk,Soul & Jazz Documentary Essentials!

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                   During the time I was growing up,the majority of men  around me were mainly interested in watching sports on television and action films in the movie theaters. From adolescence onward, the one thing that moved me in both media were musical documentaries about the black American musical spectrum that I was then absorbing like a sponge. The understanding of rhythm and harmony I received from seeing these musicians perform,speak of their histories along with the music they made provided me with a full sensory experience far beyond what I could’ve received from the limited literature of the era I was receiving.

                        Initially I was going to combine documentary films with biopics in the same blog. Since dramatizations  are a completely different medium of film making technique? Decided instead to break them up in separate but related blogs. Also because I received a very different level of education from them as well. Before hand,some of these documentaries are very hard to find even on YouTube. Many have never even been issued on DVD. Yet I highly recommend seeking all of them out if you are looking to seek out a first hand education on the soul,jazz,funk and R&B musical spectrum.

rock-n-roll

        This aired on PBS in 1995. The eighth part of it focused specifically on the genre of funk and it’s development from James Brown on through George Clinton. The final volume focused on hip-hop. The names of Afrika Bambaataa and Grandmaster Flash first came to me through watching this documentary. Not to mention the knowledge of rap’s musical roots in Jamaican reggae DJ’s such as Kool Herc. While some of the narrative commentary shows a limited understanding of the connectivity of black American music’s connectivity? The insights of interviewees such as Maceo Parker,Alan Leeds,George Clinton,Afrika Bambaataa and Chuck D are extremely insightful to what drove the music forward.

record row cradle of rhythm and blues

Narrated by the late Chess Records icon Etta James,this documentary not only opened my eyes to understanding the history of blues,soul and funk in 60’s Chicago. But was also the first glimpse I got into the idea of black American financial empowerment. Jerry Butler explained it best in this when describing how Curtis Mayfield starting his Curtom label,taking control of his publishing,took the Chicago scene into the funk era by closing down the era of people such as Muddy Waters and John Lee Hooker functioning as “musical sharecroppers”.

The strong emphasis this has on United Record Distributors,the only black American record distributors  in their time run by the Leaner brothers,proved extremely significant in my understanding of black America’s experience with capitalism for years to come. And the level of communication in the civil rights era through the iconic radio station WVON,such a significant force in the city that if an artist wasn’t on their play list,record stores would not stock their music. Possibly my favorite musical documentary all told.

motown40

It was this epic documentary mini series,hosted by Diana Ross that really allowed me to understand the internal workings of Motown records. From it’s foundational years when Berry Gordy,having failed as a record store owner in Detroit,began writing songs for Jackie Wilson. And then borrowed $800 from his family to start what become an American musical institution. A black American institution. The interviews follow Motown’s changes from it’s salad period in the mid 60’s,through the funk and disco era when the artists had the most creative control,on through Berry deferring ownership of the company in the mid 80’s through it’s resurgence with vocal boy bands and then Puff Daddy Combs remixing the Jackson 5’s “I Want You Back”. A very complete and thorough history on The Sound Of Young America.

jazz-show

Overall I’d apply the same viewpoint to this documentary as I would apply to PBS’s  Rock ‘N’ Roll from seven years earlier. It’s understanding of musical connectivity,absolutely key to jazz,is more limited to the participants (such as Ken Burns  and Wynton Marsalis) perceptions of the music than it is lacking. Yet the decision to weave an internal documentary on the life and career of Louis Armstrong as a key figure in jazz is double edged: it didn’t quite succeed in term of historical continuity but did showcase how the aspect of modern black American musical might’ve derived from Armstrong’s approach. I learned about important sociological figures in the music such as Buddy Bolden,James Reese Europe and Sidney Bechet here as well. With the help of my father’s asides,this helped complete my historical understanding of jazz.

Scratch

Went to Portland Maine to see this movie,in a little movie theater underground of a local clotherie. It was actually a suitable environment for this film. It traces Grand Mixer DST’s pioneering turntable work with Herbie Hancock on his “Rockit” project. It than goes on to discuss the fine art of crate digging for used vinyl by hip-hop scratch artists. There was no irony to the fact that I was myself crate digging myself,only for my personal listening pleasure and musical enlightenment,less than an hour after seeing this in the used record stores of the city of Portland. One of those films that was both influential and validating exactly at the time I saw it.

Earth Wind & Fire Shinning Stars

Probably the one documentary I was the most excited to learn about upon it’s release. It follows the ascension of Maurice White from his childhood in Memphis to switching his college major from premed to music and playing with the Ramsey Lewis Trio before forming his first and second incarnations of Earth,Wind & Fire. The fact that bassist/trombonist Louis Satterfield,saxophonist Andrew Woolfolk,drummer Ralph Johnson and guitarist Al McKay go deeply into their own insights on how music functioned in terms of being a member of Earth Wind & Fire during it’s prime period.

Stevie Wonder Classic Albums

In terms of the Rhino Classic Album series? This now very hard to find DVD interviews all of the musicians involved in the long winded and dramatic recording sessions to what is considered Stevie Wonder’s shinning musical pinnacle. Stevie demonstrates the double keyboarded Yamaha GX-1 (known as the Dream Machine)- a polyphonic synthesizer I find sonically and visually impressive. Another favorite part is where Stevie showcases how his musical acumen allowed him to cover over for a harmonic solo at the end of “Isn’t She Lovely” that a harmonica player of his caliber shouldn’t have made. Hearing the musical insights of this mans inner visions was a hugely important musical milestone for me.

Marvin Gaye Life & Death Of

Marvin Gaye’s history has,especially in the hands of author David Ritz,was generally depicted for me literarily in extremely magisterial terms. This BBC documentary,one that came my way through a life changing act of barter in itself,really did a lot to put more of a human face on the complexities of Marvin Gaye’s musical and personal life. Through interviews with the artist himself and penetrating reenactments of the even of his childhood? I’d recommend this as the best available visual documentation on Marvin Gaye.

Tom Dowd

Tom Dowd is probably listed as the producer of more albums than anyone in American music history. This man started out working for the Manhattan Project on the atomic bomb. And his career as a producer extends throughout both the black music and rock era spectrum-an array of artists as diverse as John Coltrane to Lynyrd Skynyrd. The amazing about this documentary isn’t merely the musical history. But Down provides an inside look,right at the mixing board,onto how he instrumentally layered songs such as “Layla”. A key story for understanding the intricacies of the musical creative process.

Bob Marley

For many years Bob Marley was mainly known to me as a superficial icon of a certain local stoner culture,one that tended to feel sociopolitical change derived solely from drug use and how it changed the consciousness. This story chronicles the complex wheel of Marley’s musical life-starting from his childhood in Trenchtown,Kingston in Jamaica through his near assassination attempt in 1976 through his passing on from Melanoma in 1981. This really broke it down exactly what about his back-round and viewpoint on the Jamaican music industries corruption that motivated the sociopolitical consciousness of the reggae music he helped to pioneer and export the world over in his lifetime.

Respect Yourself

It was thanks to Netflix that I found out about this documentary about Soulville USA! Stax Records were both the rival and opposite to Motown’s business model during it’s mid 60’s heyday. This is extremely thorough on it’s representation of Stax literally rising back from the dead following the double cross of Jerry Wexler’s Atantic Records ownership over Stax’s catalog following the death of Otis Redding, the labels burgeoning social consciousness embodied in Isaac Hayes,the Staple Singers and Wattstax during the early 70’s and financial bloating bringing the label down mid decade. Than Stax came back decades later-with a music school for young musicians to boot. Especially following the creative managing of Al Bell and interviews with many of the artists from Stax’s heyday? This is the essential story of Southern Soul from when Stax really bought the funk into the music.

Michael Jackson Life Of An Icon

Michael Jackson’s story has been re-purposed in the media so many times? It is nearly impossible to approach his life story with total objectivity. Thus far,this is one documentary that does the best job of doing so. For one,it concentrates on Mike’s late teens and early adulthood in terms of his musical development. And by interviewing everyone from Bobby Taylor,who first discovered the Jackson’s performing onto 80’s era manager Frank Dileo? It strips away some of the overbearing adulation and downright hero worship that this distinctive and funky musical talent found somewhat responsible for his own end. An end that came far too soon. Probably the essential Michael Jackson documentary thus far.

unsung_logo2012-wide

Unsung is an unprecedented documentary series on the cable network TV One. The reason for it’s importance is that it profiles an often underrated musical icons from within the soul/funk spectrum. And does so with a great level of care and compassion. As of now I’ve not been privileged to see every episode of the series. Yet the stories of people such as Tammi Tarrell,David Ruffin,Donny Hathaway,Full Force,Angela Bofill and Heatwave lead singer Johnnie Wilder provided an excellent insight into artists either misrepresented or not even spoken of broadly in other media circles.

Finding Fela

It was a reference in Paul McCartney’s documentary Wingspan that first gave me indication to the name Fela Anikulapo Kuti. This story probably brings my understanding of the African American musical spectrum near to it’s final stages. My conversations with blogging partner Rique are consistently referencing Kuti. And this film really expands on that understanding. The understanding of Fela as the Nigerian James Brown,whom he in fact was very highly influenced by through travelling through America during the years of black power in the late 60’s.

While the man bought the sound and social consciousness of total rhythm into his combination of African Highlife and jazz-funk?  He also set upon living a lifestyle of breaking down conventions,largely coming out of the corruption that led to tragic events such as the murder of his own mother. This really embodies the full spectrum of emotion a life can have-from pioneering,to humorous to tragic. And it also helps bring out peoples understanding and misunderstanding of what African culture is really all about.


Sometimes when I try to encourage people to watch more documentaries,they often respond by saying that they find them boring. At the end of the day they say? They want to escape,not learn. What I’ve personally come to understand is that knowledge functions as both a destination and an escape. Just depends on how you receive it. Being lectured at about topics by a teacher isn’t always the idea method of education. Yet through documentaries on a favorite subject? One can experience first hand,sometimes comic history,joy and tears from the viewpoint of all involved.  And for me? These have all provided the ultimate in learning while being simultaneously entertained.

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Filed under 1990s, Bob Marley, Chicago, crate digging, Earth Wind & Fire, Etta James, Fela Kuti, Funk, George Clinton, Heatwave, Herbie Hancock, James Brown, Jazz, Ken Burns, Louis Armstrong, Marvin Gaye, Maurice White, Mavis Staples, Memphis Soul, Michael Jackson, Portland Maine, reggae, Stax, Stevie Wonder, Tom Dowd, Unsung series, Vee-Jay