Tag Archives: music

Happy Birthday Luther Vandross

2It is with great pride and pleasure I take in resurrecting the ghost of the greats that enriched my life, and dare I say made the world a better place.  I’ve highlighted and spotlighted many enormous champions of the African American experience, along with many who, regardless of their station, changed the world and made tremendous contributions. This was to also include the monumental musical giants of our time. In fact, I would be remissed if I did not acknowledge the spirits of those artists and entertainers whose presence will live within us for eternity.

I am rarely at a loss for words, but the voice of Luther Ronzoni Vandross was so passionate and powerful that I have no words; other than to say the day Luther Vandross transitioned to the great beyond was a mighty loss. We will never hear a voice of such quality, sweetness, or grace every again. So on this day I want to put you in a mellow mood with these attached videos of the legacy Luther left for use to enjoy. Rest In Peace. And that’s my thought provoking perspective…


Remebering: Donny Hathaway

1xI am one who believes anyone can be taught how to do anything, but few are naturally given the rare gift of a unique and special talent like the great Donny Hathaway. This great musician man was one of a kind, in fact, Donny Edward Hathaway was the best natural jazz, blues, soul, R&B, and gospel vocalist and musician the world has known. Also, his collaborations with Roberta Flack are legendary as the scored high on the charts. The huge hit “where is the Love” won him a Grammy Award.

At the height of his career, Hathaway was diagnosed with a mental disorder and was known not to take his prescribed medication regularly enough to properly control his symptoms. On January 13, 1979, Hathaway’s body was found outside the luxury hotel Essex House in New York City that was ruled a suicide.

Donny Hathaway worked as songwriter, session musician and producer. Working first at Chicago’s Twinight Records, he later did the arrangements for hits by The Unifics on the song “Court of Love” and “The Beginning Of My End”. He also took part in projects by The Staple Singers, Jerry Butler, Aretha Franklin, The Impressions and Curtis Mayfield. He became a “house producer” for Mayfield’s label, Curtom Records recording there as a member of The Mayfield Singers. Donny recorded his first single under his own name in 1969 on a duet with singer June Conquest called “I Thank You Baby”.

It was not until he signed with Atco Records after being spotted for the label by producer/musician King Curtis at a trade convention that his prominence became evident. He released his first groundbreaking single The Ghetto, Pt. 1″, which he co-wrote with former Howard roommate Leroy Hutson, who became a performer, writer, and producer with Curtom. The track appeared the following year on his critically acclaimed debut LP, “Everything is Everything”, which he co-produced with Ric Powell while also arranging all the cuts.

Donny’s star really shined when he released his second LP titled “Donny Hathaway” that consisted mostly of covers of contemporary pop, soul, and gospel songs. His third album “Roberta Flack & Donny Hathaway was an album of duets with former Howard University classmate and label mate Roberta Flack that established him, especially on the pop charts. The album was both a critical and commercial success that included the Ralph MacDonald track “Where is the Love”, which proved to be not only an R&B success but also scored Top Five on the pop Hot 100.

In my view, his most influential recording is his 1972 album – “Live”, which has been termed “one of the best live albums ever recorded” by Daryl Easlea of the BBC. However, the song that cemented Donny’s legacy was “This Christmas”. To this very day, it does not seem like Christmas until you hear this song. The song, released in 1970, has become a holiday staple and is often used in movies, television, and advertising. “This Christmas” has been covered by numerous artists across diverse musical genres, including The Whispers, Dianna Ross, , Aretha Franklin, The Temptations, The Four Tops, Stevie Wonder, Christina Aguilera, Chicago, Harry Connick, Jr., Dru Hill, NSYNC, Gloria Estefan, Boney James, The Cheetah Girls, Chris Brown, and Patti LaBelle.

On January 13, 1979, Brother Donny transitioned this life to be with the ancestors! I want to bring his name into remembrance as he continues to rest in our hearts. Therefore, I would be remissed if I did not pay homage to the musical mastery of Mr. Donny Hathaway for his spirit lives in the souls of all of us because his music uplifted, empowered, and made us proud! And that’s my thought provoking perspective…


Remembering The Ghost Of The Greats

1-I woke up this morning to the sweet sounds of soul blasting from my radio that inspired and lifted my spirits immensely. Having been awakened to a new day in such a profound way. I decided to offer my remembrance to the amazing crooners, songstress’, prolific singer-songwriters and record producers who’ve transitioned to that wonderful place all of us wish to go. Their amazing talent must make-up the most amazing heavenly choir.

We know black music has influenced every sound or beat they every made and of course, as they have in much of world history they stole what was rightfully ours. So let’s take a moment and pay homage to the innovators and creators of such amazing music. I have said many things I cannot imagine a world without Motown or that of the great black music legends!

As I began to wondering what it must be like as the ghosts of the greats walk around heaven or wherever we go in the afterlife gathering for a concert to sing that music the meant so much to us in this life. The harmony must be simply amazing. When these great artists were alive and with us; black music – soul music – was awesome. Thankfully, they left us their gifts of sound for us to forever enjoy.

I’ll just name a few choir member that are walking around heaven all day: Whitney Houston, David Ruffin, Eddie Kendricks, Ali-Ollie Woodson, Marvin Gaye, Billy Preston, James Brown, Etta James, Donny Hathaway, Isaac Hayes, Nic Ashford, Sam Cooke, Otis Redding, Tammie Terrell, Teena Marie, Levi Stubbs, Barry White, Grover Washington, Johnny Taylor, Bob Marley, Gerald Levert, Ray Charles, Maurice White, and Michael Jackson. Although it’s impossible to name them all – BUT WE MISS AND LOVE YOU!

Times were much difficult for black people because of your work. You added hope to our struggle and your souls brought out such creative music albeit from the secular world and the church – we were overjoyed. Today’s black artists do not know what it is to be innovative or create their own music, and if they do, they do not have what I know as soul, you hardly feel anything. The new generation started producing their music, often times, in such negative a way that it affects the black community in what I view as negative ways. Is it because they did not learn from the great artist that came before them or know what it means to be creative.

What I see and hear, for the most part, black music could be at the point of no return. Furthermore, the artists who are now deceased singing in that glorious choir in this place called heaven were originals who never imitated to gain fame. These days, you have a lot of imitators, and this is one of the main reasons why we have few black artists today that touch our souls.

Moreover or sadly is that the new generation of artists, for the most part, seem to have no knowledge of what soul music means spiritually or simply understand how to be original. So to the ghosts of the greats – Rest In Peace – you will be remembered for all times. And that’s my Thought Provoking Perspective…


Happy Birthday Teddy Bear

3Music is as much a part of black history as any part of our history. Therefore, today I want to salute Black History Month by paying homage to the ghost of the greats who made a huge impact on the world and the lives of us who lived it. Today, artists have one or two hits and they are called legends. I find this laughable because, frankly, there is no body of work, in most cases, to support the label or prove worthy of attention. Black artists and icons have mastered their craft and created genres that will last forever.

NO ONE did it better than the man we affectionately call “Teddy” – Theodore Pendergrass – one of the greatest R&B singer and songwriter of our time. Teddy rose to fame as lead singer of Harold Melvin and the Blue Notes in the early 1970s prior to his hugely successful solo career at the end of the decade. In a horrible twist of fate, in 1982, Teddy was severely injured in an auto accident resulting in his being paralyzed from the chest down. After his injury, he founded the Teddy Pendergrass Alliance, a foundation that helps those with spinal cord injuries.

Teddy was not unlike most R&B singers he sang often at church and dreamed of being a pastor being ordained as a minster at the age of 10. In his early career, he sang with the Edison Mastersingers and dropped out of school in the eleventh grade to pursue the music business, recording his first song “Angel With Muddy Feet.” The recording, however, was not a commercial success.

It was the result of a chance encounter with the Blue Notes’ founder, Harold Melvin, who convinced Pendergrass to play drums in the group. Then fate stepped in and during a performance Teddy began singing along, and Melvin, impressed by his vocals, made him the lead singer. Before Pendergrass joined the group, the Blue Notes had struggled to find success. That all changed when they landed a recording deal with Philadelphia International Records in 1971, thus beginning Teddy’s successful collaboration with label founders Kenny Gamble and Leon Huff. From this point there was no turning back.

I will briefly list a few of Teddy’s most memorable hits that took him high in the stratosphere starting with his self-titled album, which went platinum on the strength of the disco hit, “I Don’t Love You Anymore.” Its follow-up single, “The Whole Town’s Laughing At Me,” became a top 20 R&B hit. It was quickly followed by Life Is a Song Worth Singing. That album was even more successful with its singles including “Only You” and “Close the Door.”

2The disco single, “Get Up, Get Down, Get Funky, Get Loose” was popular in dance clubs and after that came two more successes, Teddy and the live release, Live Coast to Coast. Hits off Teddy included “Come and Go With Me” and “Turn Off The Lights.” This was followed by the album, “TP” that included his signature song, “Love TKO” and “Is It Still Good to You.” Between 1977 and 19981, Teddy landed five consecutive platinum albums, which was a then-record setting number for a rhythm and blues artist.

Teddy’s popularity became so massive at the end of 1977 with sold-out audiences packing his shows; his manager soon noticed that a huge number of his audience consisted of women of all races. They devised a plan for his next tour to play to just female audiences, starting a trend that continues today called “women’s only concerts.”

With five platinum albums and two gold albums, Teddy was on his way to be what the media was calling him, “the black Elvis” not only in terms of his crossover popularity but also due to him buying a mansion akin to Elvis’ Graceland, located just outside of his hometown of Philadelphia. By early 1982, Pendergrass was the leading R&B male artist of his day usurping competition including closest rivals Marvin Gaye and Barry White.

2Then tragedy struck on the night of March 18, 1982, in the East Falls section of Philadelphia on Lincoln Drive near Rittenhouse Street, Teddy was involved in an automobile accident. He lost control of his Rolls-Royce Silver Spirit – the car hit a guard rail, crossed into the opposite traffic lane, and hit two trees and was trapped in the wreckage for 45 minutes; leaving him a quadriplegic, paralyzed from the chest down.

He kept recording through the 1990s in spite of being wheelchair bond and give the world his final hit in 1994, which was a hip-hop leaning “Believe in Love”. His most lasting memory for the world was “Wake Up Everybody” a tune that has been covered by a diverse range of acts from Simply Red, Patti LaBelle, Babyface, Little Brother, Kanye West, Cam’ron, Twista, Tyrese Gibson, DMX, 9th Wonder, and DJ Green Lantern.

Sadly, on January 13, 2010, the man we knew as “Teddy” left us to sing with the angels. I’ll tell you, and if you knew Teddy, the world will never be the same without his uniquely profound soulful voice. And that’s my thought provoking perspective…


PIONEERING AND LEGENDARY: Chuck Berry R.I.P.

1xSinger/Songwriter/Guitarist/Legend Charles Edward Anderson “Chuck” Berry born October 18, 1926, in St. Louis, Missouri transitioned this life at his home in St. Louis to be with the ancestors on March 18, 2017. They told us this person or that person created Rock & Roll, namely folks like Elvis, but we know like everything in America was stolen from black people. So it is well-known that the great Mr. Berry was the creator and the beginning of what is called Rock & Roll. That’s it and that’s all! Thank you sir for all that you gave the world – R.I.P. And that’s my thought provoking perspective…


Happy Birthday Sly Stone

1-The genius whose government name is Sylvester Stewart, creator and frontman, of Sly & The Family Stone harnessed all of the disparate musical and social trends of the late 60s. This group shook up the music world creating a wild, brilliant fusion of soul, rock, R&B, and psychedelic funk that broke boundaries down without a second thought. The band was comprised of men and women, and blacks and whites, making the band the first fully integrated group in rock’s history caused an integration shone through the music, as well as their message.

Before Stone, very few soul and R&B groups delved into political and social commentary; after him, it became a tradition in soul, funk, and hip-hop that evolved into the mainstream body of music. The Family Stone’s arrangements were ingenious, filled with unexpected group vocals, syncopated rhythms, punchy horns, and pop melodies. Their music was joyous, but as the 60s ended, so did the good times. Stone became disillusioned with the ideals he had been preaching in his music, becoming addicted to a variety of drugs in the process.

His music gradually grew slower and darker, culminating in 1971s There’s a Riot Going On, which set the pace for 70s funk with its elastic bass, slurred vocals and militant Black Power stance. Stone was able to turn out one more modern funk classic, 1973s Fresh, before slowly succumbing to his addictions, which gradually sapped him of his once prodigious talents. Nevertheless, his music continued to provide the basic template for urban soul, funk, and even hip-hop well into the ’90s.

During 1966, Sly formed the Stoners, which featured trumpeter Cynthia Robinson. Though the Stoners didn’t last long, he brought Robinson along as one of the core members of his next group, Sly & the Family Stone. Formed in early 1967, the Family Stone also featured Fred Stewart (guitar, vocals), Larry Graham (bass, vocals), Greg Errico (drums), Jerry Martini (saxophone), and Rosie Stone (piano), who all were of different racial backgrounds.

The group’s eclectic music and multiracial composition made them distinctive from the numerous flower-power bands in San Francisco, and their first single, “I Ain’t Got Nobody,” became a regional hit for the local label Loadstone. The band signed with Epic Records shortly afterward, releasing their debut album, A Whole New Thing, by the end of the year.

The record stiffed, but the follow-up, Dance to the Music, generated a Top Ten pop and R&B hit with its title track early in 1968. Life followed later in 1968, but the record failed to capitalize on its predecessor’s success. “Everyday People,” released late in 1968, turned their fortunes back around, rocketing to the top of the pop and R&B charts and setting the stage for the breakthrough success of 1969’s Stand! At this point, the group took over the sound of the music industry!

Featuring “Everyday People,” “Sing a Simple Song,” “Stand,” and “I Want to Take You Higher,” became the Family Stone’s first genuine hit album, climbing to number 13 and spending over 100 weeks on the charts. Stand! Marked the emergence of a political bent in Stone’s songwriting (“Don’t Call Me Nigger, Whitey”), as well as the development of hard-edged, improvisational funk like “Sex Machine.” The Family Stone quickly became known as one of the best live bands of the late 60s, and their performance at Woodstock was widely hailed as one of the festival’s best.

The non-LP singles “Hot Fun in the Summertime” and “Thank You (Falettinme Be Mice Elf Agin)” b/w “Everybody Is a Star” became hits, reaching number two and number one respectively in late 1969/early 1970. Both singles were included on Greatest Hits, which became a number two record upon its fall 1970 release.

While the group was at the height of its popularity, Sly was beginning to unravel behind the scenes. Developing a debilitating addiction to narcotics, Stone soon became notorious for arriving late for concerts, frequently missing the shows altogether. I personally paid to see Sly and the Family Stone on three different occasions and have yet to see him perform. However, it did not deter me from being one of their biggest fans.

Stone’s growing personal problems, as well as his dismay with the slow death of the civil rights movement and other political causes, surfaced on “There’s a Riot Goin’On”. Though the album shot to number one upon its fall 1971 release, the record — including “Family Affair,” Stone’s last number one single — was dark, hazy, and paranoid, and his audience began to shrink slightly.

During 1972, several key members of the Family Stone, including Graham and Errico, left the band; they were replaced by Rusty Allen and Andy Newmark, respectively. The relatively lighter Fresh appeared in the summer of 1973, and it went into the Top Ten on the strength of the Top Ten R&B hit “If You Want Me to Stay.” Released the following year, Small Talk was a moderate hit, reaching number 15 on the charts and going gold, but it failed to generate a big hit single. High on You, released in late 1975 and credited only to Sly Stone, confirmed that his power and popularity had faded. “I Get High on You” reached the R&B Top Ten, but the album made no lasting impact.

Sly virtually disappeared for years later to resurface destitute and homeless, but the sound he created lives on. It is said that most people get 15 minutes of fame while others become infamous for inspiring generations with a sound that changed the music world for all times. And that’s my thought provoking perspective…


Remembering The Notorious B.I.G. On The 20th Anniversary Of His Passing. #RIP Biggie Smalls

“Excellence is my presence. Never tense, never hesitant.” – Biggie Smalls.

1-These were the words left to us by mere mortal like the man whose government name was Christopher Wallace aka Biggie Smalls, also known as Notorious B.I.G. Gone too soon, but his impact will live forever. He was born May 21, 1972, in Bedford–Stuyvesant (colloquially known as Bed-Stuy) neighborhood in the north-central portion of the New York City borough of Brooklyn where some say is city’s roughest borough. There he grew up to become a drug dealer and a hustler, but his legacy was that of a master lyricist.

I have known many artists in my lifetime who have recorded and sold millions of records whereas Mr. Big recorded only three that solidified his place in music history for all-time. He started experimenting with music as a teenager and, not long after, befriended Puffy Combs and with the guidance of Tupac Shakur turned ashy into classy. His 1994 debut album, Ready to Die, was a smash hit and Life After Death became a classic.

Around his neighborhood, Biggie Smalls, as he called himself then, began building a reputation as a musician. After a tape of his landed in the hands of Mister Cee, a well-known DJ, Smalls was featured in the hip-hop publication, The Source.

Almost immediately, the Notorious B.I.G., as he now called himself, appearing on the 1993 remix of Mary J. Blige’s “Real Love,” and followed it up with a second Blige remix, “What’s the 411?” His debut as a solo artist came with the single, “Party and Bullshit,” on the soundtrack to the film, Who’s the Man?

In my view the release of his debut album, Ready to Die, which told the story of his life, from a drug dealer to rapper, was as prophetic as Marvin Gaye’s “What’s Going On.” With hits like “Juicy” and “Big Poppa,” the record went platinum, and the young hip-hop artist became a full-fledged star. That same year, The Source named the rapper “Best New Artist,”Best Live Performer” and “Lyricist of the Year.”

As his star power increased, Biggie did his best to share his prestige. He backed the work of several rappers that he’d originally performed with while starting out in Brooklyn, and took to the studio in support of other artists on Sean “Puffy” Combs’s label. He also teamed up with such stars as Michael Jackson and R. Kelly. By the close of 1995, Biggie was one of music’s best-selling and most sought after performers.

Big’s success and wealth hardly brought peace to Biggie’s life where he was often quoted as saying “more money more problems.” In the immediate aftermath of Ready to Die’s popularity, the rapper found himself in constant fear. In 1994, he told The New York Times that he was disliked for having more money, which came with his fame.

It was after the murder of Tupac Shakur that amplified Biggie’s fears about his own life, and his concern was tragically validated on March 9, 1997. Biggie, who had just come out of the Soul Train Music Awards, was sitting in an SUV when another vehicle pulled up to his car, opened fire and killed him. His murder shook the music world, prompting fears that the hip-hop world might erupt into a full-fledged war, ending numerous other lives. Biggie was only 24 years old at the time.

In the wake of Big’s killing, the record Life After Death was a giant hit, selling nearly 700,000 copies in its first week. Two years later, Born Again, an album of unreleased material from Biggie, was released. The third album of extra material, Duets: The Final Chapter was released in 2005.

Today, Biggie is still one of the music industry’s most admired hip-hop artists. Several musicians have paid tribute to Biggie by mentioning him in their songs, and his musical style has been emulated by countless up-and-coming artists. There is little doubt that Biggie’s talent, as a writer and rapper, propelled him from a place where so many have been lost and will continue to be acknowledged for decades to come.

If Biggie were alive today, it is safe to say there would be many so-called rapper starving and unknown. Knowing it or not, maybe call it destiny, the Notorious B.I.G. proved there is “Life After Death” and it’s called eternity. And that’s my thought provoking perspective…


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