Remembering The Greatest Blues Man Robert Johnson

At The Crossroads

It is a great joy to share the glorious past of the ghost of the greats whose shoulders. The history of black music is littered with tragic figures, and none are more tragic than Robert Johnson’s story that will live for eternity. Legend has it that he sold his soul to the devil at the crossroads for his story to live for all times.

Robert Leroy Johnson is among the most famous of all the Delta Blues musicians whose landmark recordings from 1936-37 display a remarkable combination of singing, guitar skills, and tremendous songwriting talent that have influenced generations of musicians. This amazing, ultimate star-crossed musical genius laid the early framework of rock and roll decades before that term was even imagined.

Not much is known about Johnson’s shadowy, poorly documented life and violent death at age 27, which is one of the reasons that have given rise to his legend. With that being true, the music and legacy he left behind is irrefutable and unparalleled.

He is considered by some to be the “Grandfather of Rock-and-Roll” for his vocal phrasing, original songs, and guitar style. His music has influenced a range of musicians, including Led Zeppelin, Bob Dylan, Jimi Hendrix, The Allman Brothers Band, The Rolling Stones, The White Stripes, The Black Keys, Peter Gabriel, Neil Young, and Warren Zevon. Eric Clapton called Johnson “the most important blues musician who ever lived.

Johnson was conceived in an extramarital affair and born in Hazelhurst, Miss. in 1911. Most of his biographical details have been lost to history, but what’s known is that he learned guitar in his teens, got married, and had a girl who died in childbirth. The death led Johnson to throw himself even deeper into his music. He fled to Robinsonville, Miss. where he was influenced by early blues legends Son House and Willie Brown.

By 1933, Johnson remarried and began playing the guitar professionally. He once related the tale of selling his soul to the devil at a crossroads in exchange for his talent. Johnson tells the story in his song “Crossroads Blues.” Playing for tips up and down the Delta, Johnson gained in popularity. But as he grew in fame and was known as a noted philanderer. He would also walk off in the middle of performances and not be seen or heard from for weeks at a time.

In 1936, he was put in contact with Columbia Records talent scout Ernie Oertle, who took him to San Antonio, Tex. where Johnson recorded classics including “Sweet Home Chicago,” “There’s A Hell Hound On My Trail,” and his signature “Terraplane Blues.”

Johnson began to tour nationally and became known for his unique voice and halting guitar riffs. But in 1938, as the legend goes, the devil caught up with him. While playing at a juke joint, he flirted with a woman whose husband became jealous. The man laced Johnson’s whiskey with strychnine that caused him to become violently ill playing until he collapsed. He died four days later at age 27, although conflicting stories say he survived the poisoning and died later of pneumonia.

There are at least two Mississippi gravesites that bear his name leaving questions about his passing and burial. “The reason, that it’s so powerful a story, is because it is the outline of the tragic side of the music that followed,” said music journalist Alan Light. “Some knew him as a musician, others by legend, but his shadow touches everyone who came out of that time and place.”

Black History is American History and I believe our story is the greatest story ever told. And that’s my Thought Provoking Perspective…

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The Great Mr. Ruffin

I’ve been blessed to have lived during a time when the music of our culture reached center-stage and changed the world. Of all of the great voices, I’ve heard during my time, I can say none has been more distinctive and profound than that of David Ruffin. I’ll gladly say, I feel blessed to have had my life enhanced by his music.

As we are about to celebrate Black History Month, I want to pay homage to this man whose music was a huge influence on my life, particularly my young life, to which I am grateful. In an interview after Temptation movie, something his son said struck me as profound. He said, “My daddy wanted love, but he got fame.” We know from the many talented artists to leave us of late that there is a line between triumph and tragedy. That line is often thin and frequently ends sadly. David Ruffin walked that line with tragic consequences.

Ruffin will always be remembered as the mightiest of all the Temptations’ lead singers. He was one of “the voices” that made the Temptations, and his legacy will live on in the depths of our souls as long as there is time. We will remember that sexy, gritty voice, those trademark glasses, and that stage charisma that sums up the one and only David Ruffin, and even that little crack in his voice was ok, well it wasn’t ok, but that was David Ruffin. To put his legacy into context; he achieved legendary status after only being with the Temptations for about four years.

His songs were like windows into his soul, exposing his greatest fears as a lover and a man. Even “happy” songs like “My Girl” brought out vulnerability in his voice. His relationship with the Temptations was a stormy one, but the marriage produced defining moments in 1960s soul, and his voice inspired just about every male vocalist – his influence is everlasting. We’ll never know how good he might have been, but we can rejoice in what he left behind.

Born Davis Eli Ruffin, on January 18, 1941, in Whynot, Mississippi. A sickly child inflicted with both rheumatic fever and asthma. His mother died in childbirth, and he was raised by his father, a Baptist Minister. He was a complex man and master vocalist with a gospel-trained voice that would gain him the affection of several generations of listeners, but Ruffin had more than a voice – he had a persona.

In the best of his music, there was a dark, terrible, tragic, and personal beauty. A good example would be in his self-penned composition “Statue of a Fool,” written when he was just 18 years old, in which he sees himself as a “man who lets love slip through his hands.”

My favorite line in that tune was “On his face, a gold tear should be placed to honor every tear he shed. And I think it would show, and everyone would know, concealed inside is a broken heart.” This was a powerful statement that spoke to the depth of his soul. However, as history would record he would share his most private pain in the Temptations’ biggest hits; “Ain’t Too Proud To Beg” and “Since I Lost My Baby”, and the chilling “I Wish It Would Rain.

All of these songs were rooted in gospel where David began, singing in The Ruffin Family and The Spiritual Trying Four with his father, his sister Rita Mae and older brothers Jimmy and Quincy. David left home at 13 following his father’s footsteps to practice the ministry but was sidetracked, singing in Memphis talent shows where he met a young Elvis Presley. He later sang with the gospel group; The Dixie Nightingales out of Memphis, Tennessee, and toured with The Womack Brothers, The Swan Silvertones, and The Staple Singers.

It was with these gospel groups that Ruffin would develop his stage personality, dropping to his knees and doing splits just like the late Jackie Wilson before him. David’s show-stopping performances within the group would be enough to get him noticed on the secular side.

Then, in 1964, when problems arose between the Temptations and group member Elbridge Bryant, David would be invited to join the group. Shortly after David’s arrival, the group would record “The Way You Do The Things You Do,” a Smokey Robinson number with Eddie Kendricks on lead. Gone for a three-week gig in Saginaw, Michigan, the group would return home to find themselves with their first hit. It is said, when David saw the chart standings, he sat down on the long chaise lounge in the Motown lobby, took off his glasses, and cried like a baby.

Ruffin would turn out be an electrifying and dynamic force and set a course for stardom with their first universal #1 hit, “My Girl,” recorded just before Christmas in 1964, a tune that would turn the group into a household word and legends. The group began turning out one hit after another, and when David took such up-tempo hits as “(I know), I’m Losing You,” to the stage, he became a magnetic field of charisma. His greatness would then shine, and his permanent mark on the pages of history was sealed.

At his home-going service, Stevie Wonder told the audience: “We’re confronted with a problem that touches everyone of us. We’re confronted with the most devastating slave owner of all times.” Minister Louis Farrakhan, head of the Nation of Islam, who spoke at his funeral told the mournful audience, “In David there is a lesson. We should not clap our hands and mourn, for he is out of trouble now. You are still in it.” It is not my intent to rewrite history or to re-tell a story that we all know. Rather to simply to remind us that he is gone – but not forgotten. And that’s my Thought Provoking Perspective…

Rest In Peace

DAVID RUFFIN GETS PERSONAL

“Just a Season”

AMAZON

Remebering: Donny Hathaway

I 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…

Happy Birthday Sly Stone

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…

All Hail The Queen

The world renowned Diva Aretha Franklin is without question the most profound voice of our time. She is universally considered the Queen of Soul standing head and shoulders above all others. However, she is not only a giant of the soul music genre, but to pop and gospel music as well; more than any other performer, she epitomized soul derived from her gospel-charged roots. The Queen established an astonishing run of hits like “Respect,” “I Never Loved a Man,” “Chain of Fools,” “Baby I Love You,” “I Say a Little Prayer,” “Think,” “The House That Jack Built,” and so many more great tunes during her career that we love.

Aretha or Ree Ree, as we affectionately call her sometimes, earned the title “Lady Soul” early in her career but I think “Queen of Soul” is more appropriate, which she has worn uncontested since she recorded her first tune. As much of an international institution as she’s become, much of her work, if not all, is fitfully inspired by her gospel roots making her music a must and in some cases a necessity, for our listening pleasure.

Franklin grew up in the bosom of gospel music, one of six children, and daughter to a Baptist preacher. Moving from her birthplace of Memphis, Tenn. and finally settling with her family in Detroit. Her early years were filled with musical experiences and environments from two cities that were brimming with groundbreaking music – from gospel to soul to R & B – in the 1950s and 60s.

Franklin’s first recordings with Columbia did not receive the accolades the label thought they would receive, and it wasn’t until she began her career at Atlantic Records did she find her real place in music, eventually becoming the recipient of 18 Grammies.

Aretha’s voice has been the prize to which so many females over the last 50 years have set their eyes, striving to emulate with success her depth of feeling, her soulful cadence and the natural essence that seems to flow from within her and into her music. From girl groups to solo artists, so many women, young and old, see her more than just a role model for music, but for womanhood in general.

As a compliment to the Queen, I see her in the metaphorical sense like the guy from the movie “The Curious Case of Benjamin Button,” which was about a man who gets younger as he ages. She gets better with time! Aretha’s ongoing, lifelong career is bar-none one of the most profound and greatest of our time. Her music remains the foundation for so many to live by and love, and it has stood the test of time. All Hail the Queen. And that’s my Thought Provoking Perspective…

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Remembering: Bobby Womack “The Poet”

I love to pay homage to the ghost of the greats and, in this case, this man is one of the greatest. In today’s music world, the man is one of those people called a legend. Unfortunately, most are not wise enough to know they stand on the shoulders of giants, which is really a shame when you think about it. In my view, these modern artists probably won’t be remembered in a year let alone for decades. This artist, “Robert Dwayne Womack”, affectionately known as Bobby, the poet will be remembered for all time as a legend.

Born Cleveland’s Fairfax neighborhood on March 4, 1944 and became an active recording artist in the early 1960s, when he started his career as the lead singer of his family musical group the Valentinos and as a backup   guitarist, Womack’s career spanned more than 50 years, during which he played in the styles of R&B, soul, rock and roll, doo-wop, gospel, and country. Most people don’t know that he wrote and originally recorded the Rolling Stones’ first UK No. 1 hit, “It’s All Over Now” and New Birth’s “I Can Understand It” many other songs.

According to Bobby, his father caught him playing with his guitar and was shocked by his son’s talents, as well as the talents of his other sons. Soon afterward, he bought Bobby his own guitar and formed The Womack Brothers and began touring on the gospel circuit with their parents accompanying them on organ and guitar respectively. In 1954, under the moniker Curtis Womack and the Womack Brothers, the group issued the Pennant single, “Buffalo Bill”. Bobby was only ten years old at the time.

It was the great Sam Cooke who discovered the group performing while he was still in the Soul Stirrers in 1956 and began mentoring the boys. Within four years, Cooke had formed SAR Records and signed the quintet to the label. Changing their name to the Valentinos, Cooke produced and arranged the group’s first hit single, “Looking for a love”, which was a pop version of a gospel song they had recorded titled “Couldn’t Hear Nobody Pray”. The song became an R&B hit and helped land the group an opening spot for James Brown’s tour. The Valentinos’ career was left shaky after Sam Cooke was shot and killed in a Los Angeles motel. Devastated by the news, the brothers disbanded, and SAR Records folded.

However, the sad part of Womack’s story is that shortly after the death of Sam Cooke he married his wife, and the prolific songwriter was blackballed by the music industry. During this period, he worked as a studio musician play on recording made by many top artists. After years of this work, he got a break. His work as a songwriter caught the eye of music executives after Wilson Pickett took a liking to some of the songs and insisted on recording them. Among those songs included the hits “I’m a Midnight Mover” and “I’m in Love”.

Following years of isolation, in 1968, he signed with Minit Records and recorded his first solo album, Fly Me to the Moon, where he scored his first major hit with a cover of “California Dreaming”. The door was open, and the hits started coming. During this period, nearly all of the major artist either worked with or recorded his songs.

Name the artist and they were influenced by the poet: The likes of George Benson, Aretha Franklin, Stevie Wonder, Snoop Dogg, Rod Stewart, the Momma’s and Poppa’s, Wilson Pickett, Rolling Stones, Sly and the Family Stone, Rufus, The Crusaders, Patti LaBelle, Jodeci, Mos Def, Mariah Carey, Destiny’s Child, Teena Marie, Gerald Levert, Ron Isley, Prince, and the list goes on and on.

As a singer he is most notable known for the hits “Lookin For a Love”, “That’s The Way I Feel About Cha”, “Woman’s Gotta Have It”, “Harry Hippie”, “Across 110th Street” and his 1980s hit “If you Think You’re Lonely Now”. In early 2012, Womack’s career was the subject of the documentary show Unsung on TV One.

One of my favorite songs Bobby made a powerful statement “Where Do We Go From Here”. I think it is a fitting statement! The poet made and wrote songs that are timeless! Sadly for the world, Bobby Womack left this earthly realm to write songs for the heavily choir in glory. Bless you my brother and God Bless your soul – RIP! And that’s my thought provoking perspective…

Remembering: The Legendary Sam Cooke

The music of Black America that we called soul music, born in the Church, has produced many great artists. There were groundbreakers who paved the way for other entertainers to follow. History reposts that none was better than the singer, songwriter and entrepreneur Sam Cooke, who was considered to be one of the pioneers and founders of soul music. Sam Cooke was commonly referred to as the King of Soul for his distinctive vocal abilities and influence on the modern world of music.

Cooke’s pioneering contributions to soul music led to the rise of greats such as Aretha Franklin, Bobby Womack, Al Green, Curtis Mayfield, Stevie Wonder, Marvin Gaye, Otis Redding, and the Godfather of Soul James Brown. Cooke was also among the first modern black performers and composers to attend to the business side of his musical career. He founded both a record label and publishing company as an extension of his careers as a singer and composer. He also took an active part in the African-American Civil Rights Movement.

Sam should be recognized with great pride and as a pioneer, he was one of the first black artists to break away for from the traditional artist role of the music industry of the day. Where black artists were being robbed of their music, had no ownership rights or control of the masters, and use as slaves for the white labels. Sam started his own label, which was prospering and a threat to the major label and in my view was the reason he was killed.

On December 11, 1964, Cooke was fatally shot by the manager of the Hacienda Motel in Los Angeles, California at the age of 33. At the time, the courts ruled that Cooke was drunk and distressed, and the manager had killed Cooke in what was later ruled justifiable homicide. Since that time, the circumstances of his death have been widely questioned.

My question: Why has there not been a bio-pic of this man’s story? “A Change is Gonna Come,” which became an anthem for the civil rights movement. Sam Cooke is the man who invented Soul Music and most would agree he was often imitated but never duplicated. In other words, one of a kind! And that’s my Thought Provoking Perspective…

The legendary Sam Cooke

“It’s been a long time coming but a change going to come.” 

The Sound Of Philadelphia: Kenny Gamble and Leon Huff

Happy birthday to Kenny Gamble one half of these two giants who were equally as significant as the founders of Motown and STAX records because they created “The Sound Of Philadelphia” catapulting Philadelphia International Records into worldwide fame. Kenny Gamble and Leon Huff collaborated on a number of earlier R&B songs, but the pop hits did not arrive until 1966 with the Intruders and Soul Survivors’ We’ll Be United, Together, Cowboys To Girls, and Expressway To Your Heart among others.

They also wrote and produced Atlantic hits for Archie Bell & the Drells and Wilson Pickett. But most of all, they were instrumental in reviving the career of ex-VeeJay singer, Jerry Butler in 1967 with hits like Only The Strong Survive, What’s The Use Of Breaking Up and Hey Western Union Man on the Mercury record label. In 1969, the Neptune label was founded and distributed through Chess Records. Although Neptune released only four albums, it marked the starting point for Gamble and Huff’s collaboration. Upon a recommendation by the Intruders, they brought in the O’Jays and Thom Bell to join the label as an arranger, writer, producer and musician.

By 1971, Chess Records’ involvement with Soul Music declined, so Gamble and Huff signed a national distribution, music catalog and financial deal with CBS Records then changed the company name to Philadelphia International Records. Though no longer an independent record label, with distribution and financial issues behind them, their label was free to go in the positive message artistic directions it desired. What elements lead to the creation of their musical signature?

Gamble and Huff learned that a successful record label needed a strong cache of writers, musicians, arrangers and producers to maintain a stream of hits. They had the brilliance and luck to hire Gene McFadden and John Whitehead as associate producers and arrangers. Linda Creed joined Thom Bell to form a high-impact Soul Music writing, arranging and producing tandem at the company. Next, Gamble and Huff constructed a house band from accomplished session artists.

In keeping with their mission statement to deliver positive messages, they called their session band, Mother Father Sister Brother (MFSB) comprised of Roland Chambers and Norman Harris (guitars), Vince Montana (vibes), Ronnie Baker (bass) and Earl Young (drums). With such hits from:

The O’Jays with Back Stabbers, Love Train, and For the Love of Money. They recorded the Jacksons, Jerry Butler, and other prominent acts on the label: Billy Paul (Me and Mrs Jones) and Harold Melvin And The Blue Notes (If You Don’t Know Me By Now and The Love I Lost), Blue Magic, Teddy Pendergrass, Jean Carn, Lou Rawls, The Spinners (Could it Be That I’m Falling in Love), Stylistics (Betcha by Golly, Wow), The Hustle by Van McCoy. The Three Degrees, and Delfonics (Didn’t I Blow Your Mind This Time), Patti LaBelle’s release of I’m In Love Again that reached gold sales status. They were hugely validated when Don Cornelius, producer and host of Soul Train asked the Three Degrees to do vocals for the show’s new theme track, with instrumentals by MFSB.

Gamble and Huff puzzled together dance rhythms, orchestral arrangements, and positive topical lyrics that established a musical signature having sophisticated soulful orchestration. Philadelphia International Records became a force in the Soul Music market and even drew praise from its rivals. With all the ingredients in place – the rest is history. Thank you guys! And that’s my thought provoking perspective…

Happy Birthday Flo: The Original Dream Girl

Remembering Florence Ballard on the day of her birth! I thought about titling this piece “Supremely Floriffic” because she was the founding member of the original and most popular girl group The Supremes. Yet, history records her as “The Forgotten Supreme”.

Florence, Diana Ross and Mary Wilson grew up in the now demolished Brewster Projects of Detroit. To make a fascinating story short, after begging Motown Records founder Berry Gordy for work, they were hired to sing. They recorded a string of hits for Motown, which still stand as a museum on East Grand Boulevard in Detroit. Florence Ballard had a very soulful voice that added great harmony to the group.

Few Motown acts could be put into the same caliber as The Supremes. Some say the Beatles were the greatest group of that era, but I differ in that because almost any Motown act would amply fit in that category, if it were not for racism. You see most black groups of that era were restricted by their color to perform on what was known as the “Chitlin Circuit”. Until Motown, the work of black artists fell into a category called “Race Music”.

Regardless of the real reason or the reason you might believe for her dismissal. In 1967, Ballard was removed from the Supremes lineup and replaced her with Cindy Birdsong. Flo signed away, all her rights to “The Supremes”, for $139.804 in 1968, in a hush/hush meeting in the Northland Inn. After leaving the group, she signed with ABC Records in 1968 forging on an unsuccessful solo career.

It is presumed the 1981 Broadway musical Dreamgirls that chronicles a fictional group called “The Dreams” had a number of plot components that paralleled events in the Supremes’ career. The central character of Effie White, like Florence Ballard, is criticized for being overweight, and is fired from the group.

The film version of Dreamgirls released in 2006 features more overt references to Ballard’s life and the Supremes’ story, including gowns and album covers that are direct copies of Supremes originals. Jennifer Hudson won both a Golden Globe and an Academy Award for her portrayal of Effie White. In her Golden Globe acceptance speech, Hudson dedicated her win to Florence Ballard.

As a member, Ballard sang on sixteen top forty singles with the group, including ten number-one hits. After being dropped from the label, Ballard struggled with many of life’s problems for a period of three years. Ballard was making an attempt for a musical comeback when she died of cardiac in February of 1976 at the age of 32. Ballard’s death was considered by one critic as “one of music’s greatest tragedies”. Ballard was posthumously inducted to the Rock and Roll Hall of Fame as a member of the Supremes in 1988.

On Friday, Feb 27^th, almost 5000 people lined the street in front of the New Bethel Baptist Church to say goodbye to her. Diana Ross arrived and was booed by the crowd. The Reverend C.L. Franklin (Aretha’s dad) presided over the service. Members of the Four Tops, Marvin Johnson and Thearon Hill served as pallbearers and Stevie Wonder was an honorary one.

In the spirit of Black History I will not dishonor Flo’s memory with innuendo or any of the rumors that have circulated during and since her death. However, I will say this, not unlike many artists who live a soap-opera type career. She as well as many of Motown’s successful group lends credence to the old belief that great art comes from troubled lives. But even in the face of hardship their legend remains for all of eternity.Sleep well and rest in peace “Dream Girl”. And that’s my thought provoking perspective…

Remembering: The Maestro Don Cornelius

I am always proud and take great pride in bringing into remembrance the ghost of the greats and reminding people of their great contributions. There was no one greater and more profound that the hippest man on the planet than Don Cornelius! He was the conductor of Soul Train; the hippest trip in America. He had a vision that touch every soul, feature our best artist, and came into our souls once a week for decades. Soul Train was not just his – it was ours.

Soul music means all things to the black community. It is a valuable community, often copied; stolen by the dominant community take as their own. This is not just the way I see, rather a fact. Soul music is a sound that dictates the rhythm of our soul. I have said many times that “our story is the greatest story ever told.” We, as a people, have had the good fortitude and spirit to make something out of nothing. Yes, and I know that is an understatement – but so true.

I cannot pay homage to Black Music without giving credit to Soul Train and its creator Don Cornelius who made something possible at a time when it was impossible. Let’s remember that just a few years earlier black music was not allowed to be played on mainstream radio. Let me remind you it was called “Race Music” segregated like the rest of America.

I left for Vietnam in 1969. At that time, our representation on television as it related to black American was basically nonexistent. Of course, there was the buffoonery and unrealistic representations of who they wanted us to appear to the world. When I returned, a year and a half later, I was changed as a young man and saw the world differently. I can credit that to, in large part, to a Saturday afternoon television show called “Soul Train”. It was a huge sense of pride because we got to see black artists in all its glory.

The host of this groundbreaking show was Don Cornelius, who was a tall always stylishly dress. He was an enigmatic mélange of ambition, vision and begrudging affection who unlike most old school showbiz impresarios. Black music lovers knew that Soul Train’s rival American Bandstand did very little for the artist or our community! Soul Train did provide joy within our souls. Mr. Cornelius had the vision to create the hippest trip on television and dare I say in America.

Soul Train was not just a great American story of triumph over white supremacy; rather it was a hallowed symbol to the African American community. Soul Train changed the world through its outstanding reflections of our pride and talent. The show shined a light, bright light, on the African American culture through great music while showcasing the performers who in many cases had no other national platform. This included the known, unknown, and obscure – literally making stars of this talent overnight. Soul Train was the powerful vehicle, and it became the longest running syndicated show on television, a black history fact worth remembering.

Watching Soul Train made you instantly cool, no matter if you were black, white or otherwise. It was the place to learn the latest dances, hippest fashions, and the next best way to rock an Afro and what products you had to have to keep it looking good? The legendary Soul Train Line was essential viewing. Can you remember those parties you attend on the Saturday night after watching the show where you used the moves to do your own Soul Train line? It could be said that it raised your “Cool IQ”. Soul Train was a window into the world rarely seen by the world.

When Mr. Cornelius signed off on February 1, 2012, it was a tragic end to the long-running iconic figure in American music. In remembrance of the creator’s legendary roll; I wish him love, peace, and soul. May his soul Rest In Peace! And that’s my Thought Provoking Perspective…

“Just a Season”