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By J. MATTHEW COBB Growing Up...
Growing up, it was hard to not face the sound of music. It was practically everywhere in the house. For years, I always wondered why the music of my youth became just as important to me as the events that circulated it. I can pinpoint my favorite hits, my musical idols and favorite icons, the songs played at my senior prom, the first song I sung in the youth choir at my church, even the songs that drilled into my dreams when I fought to remain asleep in order to avoid going to school (Mama was playing the radio - WENN FM at the time - and those songs would jump into my dreams). My mother played the piano for years and was skilled and versatile in many areas of music - that includes classical, jazz, 50s-60s standards, a little bit of gospel and even pop. I tease my mom with the gospel part since when she sings anything related to gospel , it sounds like a cross between country and R&B. She never plays a gospel song, from a score, like the original sounded. But in her own way, she brings joy and radiance to the piece; making it her own. My mother, believe it or not, was the gateway to the vast music world. And I would have never dreamed that music would be so vast. I just knew of my music of my time, of my childhood. Hearing Anita Baker swoon to "Sweet Love" and Freddie Jackson's voice on "Jam Tonight" was like music to my ears. It's kind of hard to imagine that a person with such a history in gospel music grooved to the sounds of mainstream music genres. But it is so true. And while evangelical may crucify me for having my ear glued to the sounds of my past, they must learn a lesson or two from A DAY IN MY LIFE. I heard alot of my music during the first ten years of my life. R&B legends like Pointer Sisters, Dionne Warwick, New Edition and Full Force went in one ear while Run D.M.C., Kurtis Blow, the Beastie Boys and Whodini tempted my other ear using infectious beats and "spit-in-yo-face" clean lyrics dealing with the issues of social and political injustice with the early forms of rap. Alot of my peers born in 1980 on up went down a different path from me. They are now proactive about their secure enjoyment in hip-hop, neo-soul and house music - form of music that developed from the mid-80s to the early 90s and stemmed off of the traditional foundations of soul, R&B, disco and funk. But my path of living went another direction. My tastebuds and curiosity for the sounds of the 50s, 60s and 70s grew amongst me. Yes, I enjoyed a good bit of the music during the 90s, but while everyone hunted for the latest sounds from TLC, Destiny's Child, Bone Thugs -N-Harmony, N.W.A., 2Pac, Mary J. Blige, D'Angelo, NaS and Jay Z, I began my ongoing search to buy CD, DVDs, even vinyl records of Maze featuring Frankie Beverly, WAR, Con Funk Shun, Daryl Hall & John Oates, Rufus, the O'Jays, Miles Davis, Brothers Johnson, the Isley Brothers, Dionne Warwick, Patti Austin, Gladys Knight & the Pips, Phylis Hyman, Sylvester, Donna Summer, Kool & the Gang, Chicago, LTD, Nat King Cole, Marvin Gaye, Ella Fitzgerald and Nancy Wilson. The quest to secure a library of rich, sophisticated grooves that the majority of artists, in hip-hop, gospel and R&B today value to the highest degree using their forms of music sampling. That library continues to grow and I have found myself lately noticing that the peers in my generation acknowledge those great legends, that I have mentioned, they barely show the originality that those artists revealed. And almost bores me to know that they continue to put out music and fail to invest serious time in their craft and songwriting like those musical legends did.
ReRe, After All These Years...
Aretha Franklin, in my book, showcased a sheer quality of excellence about her that spans several music genres. But the most distinctive thing about her skill and talent is that she showcased raw energy in everything she touched. She continues to inspire singers and artists today through her timeless works of art. She may be known for songs like "Respect" (originally recorded and written by Otis Redding) and "Freeway of Love", but it was songs like "Do Right Woman, Do Right Man", "Something He Can Feel", "Think" and "Daydreaming" that shaped the outer limits of R&B and soul. I can remember how I always had a fixation of going through my mother's record pile and discovering the "You Make Me Feel Like A Natural Woman" (1967) LP on Atlantic Records. Every song on that album touched my life and was as good and infectious as the hits of the 80s. "Dr. Feelgood", "Soul Serenade" and "Drown In My Own Tears" all revealed a mighty quality of greatness about the Lady of Soul that literally became landmark achievements in music history. Surely, Aretha remains one of the most important musical figures in my life. Even after all these years... I remember catching a clip of ReRe live on Soul Train back in 1974 on TV singing Rock Steady. I was so amazed at how graceful she was and from her very small frame, she released some of the most powerful vocals that was ever heard from man, at that time. So much soul and class - pure elegance. And the crowd was "moving from side to side" as she sung her part on the already-recorded track. No lip-synching from her...naw. It was pure Aretha! And towards the end of the song, she released a squall that almost gave you goozebumps. Even the audience had to scream and rejoice with her as she blasted her vocals through the microphone. Coming from the father of the late Reverend C.L. Franklin, the famous preacher and pastor of Bethel Baptist Church in Detroit, it was almost self-explanatory as to where she got such fire and zeal. Her spirituality always was a part of her and she never feared in letting the world know, regardless of what song she sung, in whom she believed in. That was the most memorable reflection I had on Aretha Franklin, and was most influential in merging both the R&B and gospel world - probably more than any other secular artist in my opinion.
Chicago And Muzak...
Chicago is a new group I've grown to love. Let's say that working in retail has its priviledges and one of those advantages include the benefit of listening to MuZak; a versatile, popular satellite radio solution tailor-made exclusively for businesses. Songs like "Call On Me", "If You Leave Me Now" and "Saturday In The Park" were always played in the store and I never knew it was the same group. I had a feeling the group had to be a white group based on the jazz and pop arrangements, but I could easily tell the brothers had soul. But I had no earthly clue that the original artist of these songs was Chicago. I didn't discover this until I was moved to purchase the "Chicago/Earth Wind And Fire: Live at the Greek Theater" DVD. EWF was a group I always enjoyed both musically and mentally. Their lyrics always captivated me and their style and showsmanship clearly distinguished them in a league of their own. I was curious to know how Chicago would perform since I was hearing that this tour, under the same name, was the most successful tour assembled in both 2004 and early 2005. Those very songs that I heard constantly on MuZak and enjoyed were part of the Chicago act, captured on DVD. This would open up a world of fascination for me, since the zealous horn players of Walt Parazaider, Lee Loughnane, and Jimmy Pankow (the later two were both instrumental in penning a bulk of their important hits). I never thought there was a band out there that was as versatile and as courageous to be compared with EWF. But Chicago definitely fit the bill and proved to be an exceptional choice. Their songs at times were full of jazz and classical spunk - arranged with such colossal skill that it is almost impossible to see some of their arrangements scored. Songs like "Beginnings", "Hard To Say I'm Sorry", "Does Anybody Really Know What Time It Is?" and "Colour My World" forever allowed me to appreciate people regardless of race and culture. And not to prejudge so easily without knowing a person's art through and through. It even blew me away when I heard a selection taken from Chicago 13 (1979) which possessed enough R&B and funk to drive the late Rick James into God's heavenly choir. It was Street Player.
Disco - Prologue... Many may find this fascinating or even hilarious but I do have a heartfelt appreciation towards disco. Maybe it's the pulsating foot-to-the-floor rhythms or the good-time lyrics or even the funky background of zesty horns and strings which merged romance with the dance floor, but disco music revealed good times and memories of excitement celebrated by people before my time when I hear of it. "Street Player" has that same flow: pumping beats, irresistible synths played by Dave "Hawk" Wolinski ( known for his incredible work with Rufus) and groovy trumpet blasts captured by Maynard Ferguson. It's like jazz, calypso, classical and funk merged into one melting pot. To me, this was everything music should be - after one listen to this. Of course, not many of Chicago's fans would agree with me. Alot of critics call this project the worst of their career. And many disregarded this song, but disco fans enjoyed every moment on this song. Black folk loved it too, sending this track #91 on Billboard R&B music charts. But disco would be my hype...my style...my type of music. Of course, you gotta await next chapter on more on this controversial genre of music. Goodness, what person you know can boldly proclaim they love gospel and disco music at the same time.
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