TheUrbanMusicScene.com | "Back In The Day Music!"
::: Old School/Classic - R&B & Soul - Gospel, Jazz, Funk & More! :::
The Urban Music Scene: Back In The Day

MFSB | Mysteries Of The World


MFSB - Mysteries of the World
MFSB the orchestra behind The Sound Of Philadelphia (TSOP)



The sound is original and genuine that made artists like The O'Jays, Harold Melvin & The Blue Notes, Jean Carne, Phyllis Hyman, Dexter Wansel and so many more. I chose this cd because it was their final project on the Philadelphia International label. "Mysteries of the World" reminds me that there was romance in the Disco era. The first selection Manhattan Skyline takes me to driving into New York City from Jersey and viewing the amazing nightline skyline. Just the beats from this track coveys that there are millions of stories in the naked city. The sweet intro of Mysteries of the World breaks into a fantastic journey of a Caribbean carnival. This track is a 'pick me up' that is full of excitement.


Tell Me Why featuring Carla Benson has to be on of the most beautiful songs ever written by Dexter Wansel. Carla pleads her love for the man in her life that is leaving her. The jazzy Metamorphosis is fit for a movie sound track. You can feel the everyday changes of living in the melody. My favorite selection is Old San Juan with the Spanish guitar intro and romantic vibe. You may also know the selection as the Jones Girls, At Peace With Woman.

The sweet Thank You Miss Scott, a song fitting for a Valentines Day celebration and the spacey In The Shadow rounds off this favorite. There are eight selections that completes this cd. I suggest that you find a copy of this project (the cd is not out of print).


Jerry "The Mouse" Clark
www.mellowmadness.net

The Urban Music Scene

 del.icio.us  Stumbleupon  Technorati  Digg 

Angela Bofill | Too Tough


For various reasons other than to keep my groove under control, I decided to jam Angela Bofill's "Too Tough" for you folks on the scene this time. I missed Babygirl. All for the right reasons of course. Her look in the early 80's made what the 80's was about for us old school heat seekers. Angela's wonder was significant to black music for all female singers of that period. What a presence she made. This album also confirmed the production power mastermind of another genius in that day - Narada Michael Walden. Don't leave this review without hearing what I have to say about that cat.

Although Angela's albums still stands the test of time, only a very few artists could come out of no where & record 2 albums within 1 year & succeed in charting a single. She released "Teaser" back in 1983, along later with this album in review. Home girl didn't mess around did she? Known for the love ballads, the game got switched when she dropped "Too Tough" on some of you suckas out there looking for a spot to go roller skate.

 

"Too Tough" was my jam. Our sidekick writer Marvin D. didn't even have a clue about it. If he would just leave all those ladies alone & just focus on writing reviews, we wouldn't be in this traffic jam we keep getting in on the site. The hot ladies wanted me, they didn't want you. (hehehheeee). Oh, Oh. I think I may have just pissed him off!

Other than "Too Tough", "Love You Too Much" was an option. It didn't keep the swagger brought on by the funk "Too Tough" did. "Too Tough" was one of those jams that, when you got to the dance floor, you started with the shoulder shrug - kind of like you were shaking that dirt off your shoulder kind of move - before the full booty wiggle. Remember the short booty wiggle to get your physical fitness prepared for big motion on the dancefloor? The short pop in your hip while you were holding a glass or cup at the table, in a middle of conversation, before somebody either looked at you, or you looked at them, & said. "Would you like to dance"? Some of you didn't even go that far. When the jam came, most of you went for yours & said 'forget it'. I ain't even mad at cha'.

 

"Is This A Dream" was no joke as well. It started off side 2 like "Too Tough" started off side 1. Angela can smooth things out for a moment with a love song, but Baby knew how to make you folks step onto the dancefloor. And she was backed. I believe Narada Michael Walden came full pressure for this outting. His presence was felt for Side 1, while Angela Bofill displayed her production resume for side 2. You have to own the album to know where I was coming from. Later on, Narada dropped:

......'dodo do do do dodilitodo.....dodo do do do dododo....'Shanice Wilson's 'I Love Your Smile'......

Angela was also a significant songwriter too. Many of these selections properly displayed her creativity, other than the birdy vocal presence behind the studio mic.

I miss you Angela. I own all of your music to date.

Marvin, did you take my Rollerskates? Please give me back my Stacy Adams.

Peace,
Charles F. Sherard
The Urban Music Scene

 del.icio.us  Stumbleupon  Technorati  Digg 

Intro | Intro


I first brought to light the wonderful essence of R&B boy/guy groups that emerged & made a presence, spark a mainstream interest in R&B/Soul music back in the 90's. I last spoke of a group called NIIU & ran reference to much of the music or productions from their self titled LP sounding a little bit like another group - 3 guys - that formed "Intro" back in 1993. And you know, these fellas was on hit. Their self titled LP from Atlantic Records was strong. For real...


Led by wonder vocalist Kenneth Greene, these guys made a tremendous splash on the scene when they broke out with a cover of Stevie Wonders' love hit "Ribbon In The Sky" (video above). But that was not the only jam they created & dropped on young listeners back then.

They mustered up enough sauce to keep the groove steady with hot joints like the beat bangin' "Let Me Be The One", "Love Thang", "Why Don't You Love Me" & so on. A noticeable trademark to their sound is the vocal arrangements centered around lead man Kenny Greene's voice. There were times in the playback that I wondered if the other 2 guys, ever graced the mic. I'm sure they did. And its not something to look back into. What Intro had was a niche. You KNEW when they performed by simply hearing the vocal arrangements.

One of the bigger singles off the self titled album, "Come Inside" (see video below) had to be a love jam for a mixtape in a hurry. A bit spicy & provocative, it wasn't so much the gimmicky lyrics that moved you, but the overall melody & groove that hypnotized ya'. Yes it did.


These cats perfected a love album well done. Very creative compositions & lyrics. 2 years later, they came back with another offering in "New Life" (1995). It's kinda sad to see their career shortened after the passing away of Mr Greene in 2001. I felt these brothas' had something different & special. No telling where Intro could have gone from there. And the one thing that stuck with me: They did it from the corner of the block. Straight up. With their Timberland's' strapped.

T
The Urban Music Scene

Recent update (5/14/09) Anthony Maurice was all over us about this:...."What up with 'Let me Be the one', urban music scene?"

OK Cat: And??



 del.icio.us  Stumbleupon  Technorati  Digg 

Quincy Jones | You've Got It Bad Girl



Quincy Jones - You've Got It Bad Girl

               
You ever waited for your first love to return; well this was my reaction to the reissue of Quincy Jones "You've Got It Bad Girl". This is an amazing lp that warms, soothe and calms the savage beast. I remember the day I purchased my copy of this masterpiece on that summer day in 1973. In an instant I knew that a classic was in my mist, when I heard Valerie Simpson's sultry voice sing the lyrics to "Summer In The City".
  This selection was arranged so well that it makes you feel you are in the heart of the city on a hot steamy summer day. Toots Thielemans redefines love with his harmonica on "Eyes Of Love". This has got to be one of Quincy's most romantic songs in his arsenal of music. The vibe rolls on in the third selection "Tribute to Aretha Franklin and Roberta Flack". Quincy breaks this track it into two parts "Daydreaming" and "The First Time Ever I Saw Your Face" both with Valerie Simpson and Quincy on vocals. At this point your ears are feasting with pleasure and wanting more. In the fashion of Quincy your request is granted in this following selection; Love theme from "The Getaway" with another performance by Toots Thielemans.

               
Now it's time for Stevie Wonder to enter the equation with the title track "You've Got It Bad Girl" (Quincy on vocals) and the track "Superstition "(additional vocals by Billy Preston, Bill Withers and Stevie Wonder on harmonica). Next Dizzy Gillespie's Afro Cuban standard "Manteca" comes on hard and strong. This toe tapping track is fun and full of energy.
  You can feel the presence of Redd Foxx in "Sanford & Son Theme" (see youtube video above) an all time favorite to us TV couch potatoes. Finally to wrap things up the selection "Chump Change" steps you off with its marching band sound.
               
"You've Got It Bad Girl" is definitely a keeper and a must for your music collection. It's great to see these titles being reissued after years on the shelf.

Jerry "The Mouse" Clark
www.mellowmadness.net

The Urban Music Scene

 del.icio.us  Stumbleupon  Technorati  Digg 

Roger | The Many Facets of Roger


If we are going to dive into the world of Funk, pay strict attention to this: The funk had the memory of Roger Troutman & he came with it.

Incomparable in many ways, the sound of the vocoder or "Talk Box", should stand tall & clear when Roger's voice envelopes a trademark on classics like "I Heard It Through The Grapevine", "So Ruff, So Tuff", "Do It Roger" & more from "The Many Faces of Roger" LP. He handled the background vocals dept, the guitars, horns, keyboards, synths, Fender Rhodes, arrangements & productions. His music transformed the magnitude of Hip-Hop music in the 90's & still is often heard on all funk-R&B radio formats all over the world. The very reason why his legacy should be an inspiration. Even the "Father of The Funk" George Clinton knows how much Roger's strength in the scene meant to all. You can put your money on it: Roger & Zapp was on hit.

The album dropped on the funk players back in 1981 & the rest was up to us. I played the album out so bad, I stole Marvin's copy from out of his garage when mine got scratched. He didn't know it till now. I'm glad to be out here in Riverside, Cali. 'cause he would have to fly out this way to get it. And he ain't getting' it back. It belonged to the REAL funk lovers like me & Marv always messed around. T knew what was up.

 

The one thing I always admired about the sound coming from Roger was the amount of time he put on the singles, the tracks. He averaged nearly 8-10 minutes
& had assistance from his brother Larry. Gangsta Rap artists jammed the samples right into their mix. I can hear Ice Cube's earlier albums whenever Roger's mixes hit the stereo. Now that is what I call influence. Don't get me started over Dr. Dre & Tupac's "California Love" now. How about EPMD??? It was the bass & the hand clapped driven flow players!

Another outlook is in the way Roger presented the music on stage, away from the studio production. It was more spectacular to see him & Zapp live (I know many of you missed seeing him in concert. I tried to catch him here in L.A. whenever he came to play..)
than anything else hot back then. I jotted his tour schedule down on the memo, next to the classic old school 'Kool' Festivals (do you all remember those badd concerts?)

Peace be to the gentleman of the Funk - Roger. I still play back all of his albums & treasure the LP's I bought. A cool cat with a lot, a lot of influence I said, in R&B music. I should go much deeper into his bio, but it will be chilled on ice.


I encourage a play back of this album.

Peace,
Charles F. Sherard
The Urban Music Scene


Available now at Amazon!

 del.icio.us  Stumbleupon  Technorati  Digg 

Captain Sky | The Adventures of Captain Sky



It was the year 1979, and what a year it was. Charles and I were the best of friends. We would be graduating from high school next year, then possibly going our separate ways.

But definitely keeping the funk alive.

Charles was a tall, athletic and light skinned. All the girls thought he was “fine” and he thought he was ”fine” to. During high school he did some modeling for black fashion.  

We we’re getting ready for the Hanna end of school-beginning of summer party, in which T. Hanna was dj’ing. 'T' was everybody’s party dj, because he had all the funk. Big T really showed his stuff at the roller rink on Saturday night. It was a 'right on' funky good time. But there was one album that T did not have for Saturday night.

It was The Adventures of Captain Sky. An album so funky, we we’re scared to take it to the rink! So we tested it out Friday night at T's party.

Charles came to pick me up in a 1978 AMC Pacer that his dad bought him because he got a scholarship to U.C.L.A. to play basketball.

(Charles' AMC Pacer)

Charles’ Car was like this. It was electric blue. It came with everything, even a cassette deck. Charles stepped out in a black and white polka dotted shirt with the Aladdin sleeves and windowpane bellbottom jeans, with black, 2 inch platform shoes. (don’t think he didn’t have a white pair in the trunk). I myself had the black one-piece bellbottom jumpsuit and white 3 inch platform shoes (Just to feel as tall as Charles). I came out with the funkiest tape to hit the streets. We put it on & on our way to the Hanna party, it was solid, the first song on side one was “Wonderworm”, 12 minutes of bass thumping, head nodding funk. The bassline just snaked through the song. By the time we got to Wilshire blvd, we we’re still thumping to the first song.

Captain Sky a.k.a Daryl Cameron from Chicago Ill. was a Chicago based bass player who assembled musicians throughout Chicago and embarked on a recording career. Daryl’s persona was that of a parliament-funkadelic style, even though his music was along that vein, but it was mostly called pre-historic electrofunk, and raw sticky disco. Captain Sky, at one time, might have been a little ahead of his time. In fact Prince was getting ready to release his debut album “For You” the same year he released “The Adventures of Captain Sky”.

The two main songs on this album is "Wonderworm" and "Supersporm", which took up one side of the album. Most of us never made it to side two. Supersporm was just as funky as Wonderworm. Due to the fact that Captain Sky only released 4 albums, his last in 1988, he let the funk ride for ten good years and like most artists of the old school era, got lost in the disco craze. Some tried and failed, some made it and new groups emerged and then failed when the new jack swing came in.

On the way to the party, Charles spotted a couple of girls that looked like Pam Grier and Tamara Dobson, turned around and threw his mack on. They asked 'where we were going?'. We said “a party, wanna go?”, they replied “not in a pacer!” Charles said two words and the rest was history. He said, “T's party!" It was solid at that time.

We got to the party about 10:30 pm after hitting the Fattburger joint, cause there is no food served at T's party. We stepped out and the party was jumping. T was playing the Isley Brothers and mixed in Young and Company and we hit the floor, before you know it we were doing the soul train line to Heatwave’s “Grooveline”. I told my friend I would be right back, went up to T and told him to check this out. He listened to it and said “This is the joint!”, I’ll put it on after Earth, Wind and Fire’s “Lover’s Holiday!

T started the last set of the night with Slave’s “Slide” and mixed in Supersporm and crowd went nuts. The girls that we were with told us that we were the only guys to ever take them to T's party and we hung out for the rest of the night. We cruised Sunset Blvd and then headed to the Santa Monica Pier where some things happen that I can’t mention in this review.

After graduation, everybody went to the last Big T's party, a special party, at the roller-rink.  He played songs from 1975 to 1979, four years of funk, in one night.

Charles bought a 1979 Cutlass Supreme for college, says the pacer was for high school. My dad bought me the same car but I had swivel seats and t-tops (Charles was mad). The girls they went off to college out of state, last I heard one was living in Atlanta. I saw Charles one day on school break and he looked different, his hair was different, I said, “Charles your hair is fresh, what’s it called” he said "Jheri curl",  Charles was always the first to set a fashion trend.  Who’d thought every black person in America would have one, (and there are still some out there that still have them, cause your local supermarket still sells the activator).

Well years later, Charles and myself are back together as staffwriters for www.TheUrbanMusicScene.com  and hope if Captain Sky is still out there somewhere, it’s time for a comeback. Here a Video of Captain Sky on Soul Train!



Marv D
The Urban Music Scene.

P.S.: Wondering what happened to the Pacer? Charles still has it.

 del.icio.us  Stumbleupon  Technorati  Digg 

Hubert Laws | In the Beginning


** Hubert Laws, In The Beginning


In the early 70’s, musician and virtuoso Hubert Laws was penned by jazz enthusiast and critics alike as the premier flutist on the contemporaryjazz scene. It was in 1974 when I met “In The Beginning” by Laws for the first time. Visionary and businessman Creed Taylor [founder and owner] of CTI Records produced this album.

One glance at this stellar cast of musicians on this recording you’ll find yourself simply spellbound, as you’ll see everyone from Bob James, Steve Gadd, Richard Tee, Dave Friedman, and Ron Carter adorns this project. In addition, his brother Ronnie Laws plays tenor saxophone and Airto adds rhythmic beats, color, and textures as the percussionist on this magnificent session.

The opening selection “In The Beginning,” the title cut is a splendid piece that sets the mood is composed by the imaginative Claire Fischer [she is also featured on electric piano on the track] and arranged by Bob James along with Ms. Fischer.  

On this recording, Hubert breaks new ground on this eclectic masterpiece, as he incorporates his passion for classic and gospel infused with jazz on tracks like “Gymnopedie #1” and Gospel fused “Come Ye Disconsolate” (arranged by Laws and James]. He also refines Coltrane’s swinging and complex “Moments Notice.”  Of course, as you listen, you’ll discover other distinguished selections throughout this project giving [you] quality and depth with over and hour of stunning music and powerful arrangements with top shelve musicianship provided by Laws and company.

By now, I think you get the picture. Producer Creed Taylor was truly brilliant in recognizing talented artists of Hubert Laws caliber and giving them a vehicle to express themselves instrumentally on his label CTI. Finally, if you don’t have any records by Laws, and you absolutely dig jazz with flute as featured instrument I’m convinced his record “In The Beginning,” should meet and exceed all expectations even for the most discriminating music lover.


Rob Young
The Urban Music Scene


 del.icio.us  Stumbleupon  Technorati  Digg 

Bill Withers | + Justments



Bill Withers - + Justments

It's a crime that Bill Withers +Justments has never been reissued. There is not one blemish on this lp issued in 1974. The journey kicks off with the hard driving "You". Bill put his trademark 'somebody done you wrong' lyrics into this piece. His honesty in pleading for love in "The Same Love That Made Me Laugh" is pure poetry. I am sure you know someone in your circle of friends (maybe yourself) that has traveled this road. There are two selections about women, the far away "Ruby Lee" that he is yearning for and the sweet heartbroken niece "Liza" that he consoles. Bill is truly a man for the ladies.

 

One of the must beautiful ballads that he has ever written is "Can We Pretend" with Jose Feliciano performing on guitar is a pure genius. A warm smile can light up a room proven in the song "Make a Smile for Me". This selection is just the medicine to cheer a sadden love. "Heartbreak Road" is self explanatory: it's a journey that we all have traveled. I just love Bill's interpretation.  +Justments also have one of Bill's famous back home West Virginia family roots songs "Railroad Man". The setting is so typical of the southern town and hearing the sound of the local train that takes you to far away places. I am crossing my fingers hoping that someday this classic will be available again.

Jerry "The Mouse" Clark
Mellow Madness Music www.mellowmadness.net
88.1FM WFSK Fisk University Internet Radio www.wfsk.org

Special guest to The Urban Music Scene

 del.icio.us  Stumbleupon  Technorati  Digg 

Wynton Marsalis | Standard Time Vol2: Intimacy Calling



** Wynton Marsalis, Standard Time Vol2: Intimacy Calling


As you know by now, jazz is the genre of preference that I adore when it comes to music. You see, I love the possibilities, mystery, improvisation, and endless stream of colors the music offers without boundaries. When I hear or perceive a sound as being good, then it’s imperative that I pay close attention regardless of what I may or not think about the artist who’s providing the music.

Now let’s get down to business, as we venture back to 1991 and revisit trumpeter Wynton Marsalis’ “Standard Time Vol2: Intimacy Calling.” In this collection of awe-inspiring music, Wynton explores an unspoiled balance of art, history, and his passion to simply play this more than gratifying music that swings with authority and sheer delight from song to song.  

From the onset, Wynton steps out with the bluesy “When It’s Sleepy Time Down South.” This composition evokes his spirit and infatuation for the blues New Orleans style. Yep this is the real deal baby, Wynton eloquently plays the muted trumpet as I imagine him strolling down with “Bourbon Street” swagger on a over cast day playing mesmerizing this tune.

On this project, Wynton’s timbre is respectfully predicable throughout the recording nonetheless, his canvas at times yields in a state of a temporal Miles like tonality on cuts like “Indelible and Nocturnal.” Nevertheless, his sound is strong, undeniably cool, fresh, and colorful as he paints this ballad and others with strokes of brilliance like no other. Keep in mind, if you’re new to jazz or for that matter you’ve been around the block a few times this project Wynton soars with excellence in a variety of moods and textures, as he undisputedly understands what direction to take and when to take you on this panoramic musical journey that is compositionally primetime. “Standard Time Vol2: Intimacy Calling” by Wynton Marsalis is the near perfect jazz recording to add to your collection. 


Rob Young
The Urban Music Scene


 del.icio.us  Stumbleupon  Technorati  Digg 

Shirley Jones - Always In The Mood



Who can ever forget about the vocals coming from Manhattan Records recording artist Shirley Jones? The Lead singer from her sibling group, "The Jones Girls"? Her solo debut, "Always In The Mood" dropped some earlier sultry, romantic ballads with the support from producers Bunny Sigler, Dexter Wansel, Kenneth Gamble & Leon A. Huff, just to name a few. In a period where slow ballads often dominated the airwaves & help elevate various careers of mature vocalists, male & female, in that mainstream market, Ms. Jones sparkled with a hit single in "Do You Get Enough Love?" & the album sustained great record sales in 1986 & abroad...

Track Listing:
~ Do You Get Enough Love?
~ Breaking Up
~ Last Night I Needed Somebody
~ She Knew About Me
~ Always In The Mood
~ I'll Do Anything For You
~ Surrender
~ Caught Me With My Guard Down


Many of these songs, as it relates to the titles, were easy to identify. Especially when it came down to the songwriting/lyrics. As though as if it was all just a matter of writing a love letter. That's what "Do You Get Enough Love?" reminded me of. Smooth & soft, with a quiet & seductive feel. Allow Shirley's voice to cascade & pull you into her world of music. Just as much as you will hear it again in "Breaking Up" - a mid tempo production suggesting one should not think about 'breaking up' when things are going pretty well, despite issues & problems in relationships. Rather, 'we outta be making up'...


"Last Night I Needed Somebody" back in the day made me believe at one time or another, thinking it was the voice of one of my all time female R&B vocalists - Ms. Stephanie Mills who swooned the composition. It was Ms. Jones & as beautiful & given the intent of the title, the melody hooked me into a feeling to sway with my headsets on, back & forth. That's right!
Lightning struck twice when "She Knew About Me" flowed in & how well this track sequenced right after the other. It touched upon my listening emotion.

Then,  Shirley went for hers on the dancefloor with pick up tempo cuts, "Always In The Mood", "I'll Do Anything For You", "Surrender", & "Caught Me With My Guard Down".
The beat really slammed when Zane Giles guided the funk into the jam - "I'll Do Anything For You", while Larry Davis served his musical arrangements to the same vibe in "Surrender" - handling the Drum Programming, Guitar, Percussions, Keyboards....You Got It!

This album was meaningful in more ways than one. Although Ms. Jones didn't pop another album out until 2007 with Cherrelle & Jean Carn called Ladies Night, The Always In The Mood LP is a keeper & another one of those projects that is hard to grab a hold of. A monumental keepsake & a testiment to the way Soul lovers grooved out of control back in the early to mid 80's - encompassing both sides of a record, either by Romance or by Dancing the night away.

Available as an Import on Amazon.

T
The Urban Music Scene

 del.icio.us  Stumbleupon  Technorati  Digg 

Blog Software