AAMAM: The Marvelous Voice Of Luther Vandross. Part 26 of 30

When celebrating African American Music Appreciation Month we must marvel at the Black voice in song.  It has a wonderful vibrato and tone filled with hope everlasting.  It can gracefully reach a brutal yet angelic fortissimo then in an instant render into a peaceful pianississimo whisper.  It can bounce around in a most staccato way and still lull a baby to sleep amid the bright lights and big city.  It tells stories of the Black experience past, present, and future.  It seeps into our memories and keeps us warm at night and calm in the midst of a storm. And it certainly can fill us with an abundance of joy!

Singers who have mastered the art, temperament, and technical requirements of the Black voice such as Billie Holiday, Nat Cole, Ella Fitzgerald, Sam Cooke, Aretha Franklin, James Brown, Minnie Riperton, Teddy Pendergrass, Chaka Khan, Michael Jackson, Whitney Houston, Rachelle Farrell, Lalah Hathaway, Jose James, Ledisi, and Gregory Porter, just to name but a few, have delivered various musical motifs to global life.

Only select singers can be singled out to be examined for their abilities, cultural merits and social achievements and their motif of love. In this case, there is one singular Black voice, among few, who is known almost exclusively for the vocal ability to croon about love. Luther Vandross can be counted among those who have mastered the art, temperament, and technical requirements of the Black voice. Known at times as the “heavy weight of soul,” Vandross, with his voice, carved out a place for lovers to dwell. His voice smooth and alluring signaled both men and women to come hither (I’m having fun with this).  With a seemingly effortless glissando from a low holler to a righteous scream through several octaves, Vandross’ voice formed to cupid’s function.

Luther Vandross has many songs that can be used as examples to show how his voice, in all its power and ability, can set the tone in the mind and hearts of any listener. However, this post will use his 1983 release “Make Me A Believer” and that quintessential love motive. With its smooth glossy 80’s feel it tells of one lover’s desire to hold another in full belief that love will never end all the while Vandross’ voice is marvelous in tale.

AAMAM has a voice for lovers!

AAMAM: The Fugees! Part 24 of 30

Fugees! Straight up, no filter, one of the baddest hip hop groups on the planet. Yeah, I said it!

The Fugees (Wyclef Jean, Lauryn Hill, and Pras Michel) exploded on onto the hip hop scene in the early ‘90s. They gave us two albums Blunted On Reality and The Score and hit after hit after hit! Their lyrical style infused intelligently packed and quick witted word play with streams of sung vocals all set to music with Caribbean undertones, which spoke volumes in terms of empowerment to youth culture like no other. And just like (snap) they were gone! The group disbanded in ’97. They left a welcomed stain on hip hop culture.

It’s a good thing there is Youtube so we all can be reminded of the how great the Fugees were

Check out one of their early supper hits “Nappy Heads.”

AAMAM has a date for Friday!

AAMAM: Marvin Gaye’s Smooth 1, 2 Punch! Part 23 of 30

With its smooth and relaxed intro, Marvin Gaye’s 1971 hit “What’s Going On” was a departure from the glossy and neatly orchestrated Motown Sound his audience was so used too.  Gaye had reached a point in his life where he felt the needed to sing about the ills of society, war, poverty, and racism rather than sing dreamy love songs.  His decision to do so was well received in “What’s Going On.”  Gaye self-produced his song combined elements of classical music and R&B to create a unique sonic backdrop for a powerful message addressing the problems of the early ‘70s.

Sit back and take a listen to the masterful recording “What’s Going On” by Marvin Gaye!

AAMAM is always smooth!

AAMAM: Thank You For Being 100, Sly! Part 22 of 30

The close out of the ‘60s era ended with the release of a song that examined the experience of trying to fit in to a society that struggled to accept individuality to say the least. Sly And The Family Stone released “Thank You (Falettinme Be Mice Elf Agin)” in December 1969.

“Thank You (Falettinme Be Mice Elf Agin)” became a hit and remained high on the music charts for the first half of 1970. Sly And The Family Stone was famous for pushing social and cultural messages through their songs.  They forced the listener to bop their head, snap their fingers, and stomp their feet to the most current social concerns of that era. “Thank You (Falettinme Be Mice Elf Agin)” was indeed such a song. Filled with personal experiences from Sly, the song created an image of a person struggling with overzealous authority, the awkwardness of high society, and the price to be paid for being different all the while being both thankful and  resentful for the experience as ones true self.  If you can get past the funkiest of grooves provided by the band (take note of Larry Graham’s ground breaking thumb slapping technique) the message in the lyrics are loud and clear.

Just to mention–upon listening to the first verse, one will notice a seemingly prophetic image of Trayvon Martin and George Zimmerman take shape:

Lookin’ at the devil, grinnin’ at his gun. Fingers start shakin’, I begin to run. Bullets start chasin’, I begin to stop. We begin to wrestle, I was on the top.

However, this is not prophetic in the least; this type of imagery has been a constant in American society before Sly’s era, during Sly’s era, and sad to say, certainly since Sly’s era.

Take a listen.

Authentically AAMAM!

AAMAM: Curtis, Your Future Is So Very Bright! Part 21 of 30

Curtis Mayfield. (1942-1999)

The year1970 witnessed the released of Curtis Mayfield’s album Curtis. On it Mayfield acutely addressed the social climate of urban America.  Facing forward with the ‘60s in his rearview mirror, Mayfield’s Curtis headed down a highway of new musicality robust in optimism—new found humanity for a people in search of their just rewards for a battle well fought.

Mayfield’s Curtis musically ushered in a bright new future with its uplifting lyrics and music, which could be heard on his single “Move On Up.”  Tom Maginnis, music reviewer for Allmuisic .com, best describes the texture of “Move On Up” as he says,

The optimistic atmosphere can be heard from the very opening joyous horn riff, signaling a kind of feel-good fanfare as the song’s brisk rhythm is quickly sustained by a grooving percussion section of congas, Don Simmons’ rollicking drum kit, and a steady strum of clean electric guitar. Mayfield uses a variety of horn and string riffs as an ingenious call and response device to his silky smooth vocal performance at various points throughout the song’s intricate arrangement of a multitude of instruments. The overall effect is one of a unstoppable wave of positive sound, rolling forward, moving on up, as Mayfield offers words of encouragement, of progress through hard work and perseverance.

With that being said, have a listen!

You have a bright future with AAMAM!

AAMAM: Digable Planets Are Cool Like Dat! Part 20 of 30

Were you “cool like dat” in the early ‘90s? Digable Planets was. They hit the hip hop scene like no other rap group of the era. Combining elements of cool jazz and richly dense, positive, and melodic lyrics they established new boundaries for hip hop music.

Digable Planets, founded by Ishmael “Butterfly” Butler, Mary Ann “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving, carried with them new and bold ideas for hip hop into the recording studio.  Luckily, recording their hit single “Rebirth Of Slick (Cool Like Dat)” on their first album Reachin’ (A New Refutation Of Time And Space [1993]), the group was afforded the grand opportunity to work solo in terms of producing their single as well as their entire album. As such, they were able to explore the parameters of their ideas and ultimately solidify their distinctive sound. Their unique ground breaking crossover hit “Rebirth Of Slick (Cool Like Dat)” became part of the groundswell of positive hip hop of the ‘90s, later known as the Golden Age of hip hop.

“Rebirth Of Slick (Cool Like Dat)” ultimately won a Grammy for best rap performance in 1994.

Yeah, AAMAM is cool like dat, too!

AAMAM: We Shall Overcome, Charleston! Part 19 of 30

Today I dedicate the song “We Shall Overcome” to the grieving family and friends of the victims of the Emanuel African Methodist Episcopal Church in Charleston, S.C.  What happened there was a horrible and sad event perpetrated by a lost and hate filled individual. I pray for the healing and the restoration of hope for the city as well.

The song “We Shall Overcome” has served as the hope-filled anthem of the Civil Right movement.  Its message contains a powerful sentiment of hope and redemption for those in crisis. The song was popularized by the civil rights activist and folk singer Pete Seeger who taught the song to just about everyone he met. The song “We Shall Overcome” was derived from gospel music composer Rev. Charles Albert Tindley’s song “I’ll Overcome Someday” written at the turn of the century.

Coincidently, research suggests “We Shall Overcome” was first sung in Charleston S.C. by churches and striking food and tobacco workers in the late 40s.  As such the song must continue to be sung in the city of Charleston. In fact all of our collective voices should sing in unison to usher in a feeling of hope all across America. Hope is what we need.

We shall overcome, Charleston!

The Power of AAMAM is real!

AAMAM: Miles Davis’ “So What” Is Perfect! Part 18 of 30

On March 2, 1959, Miles Davis recorded “So What” at Columbia 30^th Street Studio in New York, with legendary musicians Paul Chambers (bassist), Bill Evans (Pianist), John Coltrane (tenor saxophonist), Julian “Cannonball” Adderley (alto saxophonist), and Jimmy Cobb (Drummer). “So What” is the best song ever recorded on the best album ever recorded in the history of recording, Kind Of Blue. Kind Of Blue is consistently among the top 10 non debut jazz albums purchased every year since 1960. You have this album, right?!

“So What” is the supreme model for modal chord structure. “So What” is uncanny in that every solo is perfect—every note is in the right place. “So What” changed the sound of jazz for the entire decade of the 60s.

Sit back, turn it up, and listen. Happy AAMAM!

AAMAM: Do You Know “Rappers Delight?” Part 17 of 30.

L to R: Big Bank Hank (1956-2014), Master Gee, and Wonder Mike

In 1979, “Rappers Delight” was released by the rap group Sugar Hill Gang. The song was an instant success, which opened the door for rap music and hip hop culture to enter the main stream. Prior to its release, rap music was commonly created in the moment with DJs spinning records and providing musical spaces and back beats for budding MCs to rap over. It was rarely recorded and truly an underground genre.

“Rappers Delight” was the first rap song to top multiple music charts around the world.  It was also the first rap song recorded that extensively used samples to create a back beat and as such made the Sugar Hill Gang the first rap group to face a law suit for illegally sampling songs (The group sampled the band Chic’s song “Good Times” without permission–they ultimately gave credit to Chic). Furthermore, they were the first rap group to be bilked out of millions by their management. (See I Want My Name Back documentary)

Historically, the Sugar Hill Gang’s “Rappers Delight” utilized the African oral tradition of rhythmic storytelling over drum beats, which is the defining element of hip hop.

Take a listen to “Rappers Delight!” Some of you may remember all the lyrics and the rest of you can learn the lyrics for the first time here.

Enjoy AAMAM!

AAMAM: Queen Latifah Aint No Bitch! Part 16 of 30

Boldly confronting the misogynistic behavior of young men, Queen Latifah’s song “U.N.I.T.Y.”, in no certain terms demanded respect. Through her song, she became the once-and-for-all spokesperson for women weary of abuse, hurtful offensive behavior, violence, objectification, and slander.

Released in January 1994, on Queen Latifah’s Black Reign album, “U.N.I.T.Y.” was a no holds barred statement for respect. Latifah’s first words: “Who you calling a bitch?” set the tone for the song. With those lyrics, she instantly managed to grab the attention of the listener to forewarn them of the lyrical hostility that was about to ensue. She pointed out the maltreatment by men and in the end demanded respect.

Latifah’s delivery or rather her lyrical flow was rhythmic and relentless, which served to further condemn guilty men. It is one thing to be merely told off, but to be told off with lyrical artistry is another thing.

In terms of her video below, Latifah’s gritty facial frown expression created an indelible image of her anger with the careless disrespect made by men.

Queen Latifah won a Grammy award for best solo performance solidifying the collective sentiment of women in the mid 90s.

That’s hip hop for ya—continuously reporting the current pulse to the masses.

Continue to enjoy your AAMAM!