r&b – Page 8

Little Anthony + The Imperials | Shimmy Shimmy Ko Ko Bop

New York City-based singer Jerome “Little Anthony” Gourdine joined a group called The Chesters in 1957 “as the lead vocalist. The group recorded ‘Tears on My Pillow,’ which became an instant success. The Chesters changed their name to Little Anthony + The Imperials in 1959, and released their second hit single, ‘Shimmy, Shimmy, Ko Ko Bop,’ which sold one million records,” (TheHistoryMakers.org).

The group went on to more success with songs including “‘I’m Outside Looking In,’ ‘Goin’ Out of My Head,’ and ‘Hurt So Bad.’ They appeared on the The Ed Sullivan Show, the Kraft Music Hall Television Show, and Dick Clark’s television specials. In 1969, Little Anthony + The Imperials signed with United Artists and recorded several chart singles. Gourdine left the group in 1975 to begin a sixteen year long acting and solo singing career.”

“Shimmy Shimmy Ko Ko Bop” features several half-step key changes during its run time of less than two minutes.The first modulation hits at 0:58.

The Dukes of September | Who’s That Lady (live)

The Isley Brothers recorded “That Lady” twice. Songwriters Ronald, O’Kelly, and Rudolph Isley, the original family trio, released the first version in 1964.

Besides the sweet vocals, the prominent features of the song are the insistent cowbell (!), and the supporting horn riff towards the end.

But it was the Isleys’ 1973 version that made the song famous (Billboard #6 that year). By then, younger brother Ernie Isley had joined the group, and it’s his fuzzed-out guitar that’s the hook in that version. For that release, the lyrics were embellished, and the superior recording quality reflects the improved technology of the day. Neither of the Isleys’ versions featured a key change, however!

Donald Fagen (of Steely Dan), Michael McDonald (of the Doobie Brothers), and Boz Scaggs toured as The Dukes of September from 2010 to 2012, playing hits from their own bands and some of their own favorites, like the song here. Guitarist Jon Herington, who had recorded and toured with Steely Dan, manages to capture the flavor of Ernie Isley’s solo in this performance at Lincoln Center in 2012.

In the Dukes’ version, there’s a half-step modulation at 2:36 — although this shift seems bigger due to an interruption of the groove, some unexpected kicks, and flourishes from the horn section.

Al Wilson | The Snake

“In this song, Wilson sings about a woman who finds a worn-down snake on the streets. She takes him in and cares for him, but instead of showing gratitude, he bites her. She is understandably upset, but he reminds her that she knew he was a snake when she took him in,” (Songfacts).

“Wilson was a popular soul singer who had his biggest hit in 1973 with ‘Show And Tell,’ produced by Johnny Rivers, who signed Wilson to his Soul City record label (and) is known for his 1966 hit ‘Secret Agent Man.’ In 2008, ‘The Snake’ was used in British TV commercials for Lambrini Perry,” a pear cider!

The horn-drenched r+b track, released on Wilson’s 1968 album Searching for the Dolphins, shifts up a half step at 1:37 and again at 2:21.

The Fantastic Four | As Long As I Live

“One of the more underappreciated vocal groups of their era, the Fantastic Four … was powered by impassioned lead singer ‘Sweet James’ Epps,” (ClassicMotown.com). “They came to Motown as established R&B hitmakers in 1968. Although their career somewhat stalled for two years at Hitsville, they released strong singles, recorded an unreleased album, and a passel of additional tracks still prized by Motown collectors and Northern Soul aficionados.

Recording for (the) Ric-Tic label, the quartet consistently connected with fans through a string of singles with devotional lyrics – some echoing themes of classical literature – perfectly suited for “Sweet” James’s near-breathless and deeply soulful delivery, which bears some resemblance to that of David Ruffin. They placed six songs on the R&B charts (three of which also hit the pop charts) between early 1967 and mid-1968 … (including) ‘As Long As I Live (I Live For You)’ (which became) a regular presence on soul music-formatted radio stations.” The band’s songs “were regularly played on Detroit/Windsor’s 50,000 watt powerhouse station, CKLW (The Big 8). They continued to record for Motown, releasing several singles under its Soul subsidiary label, until 1970, when they went into semi-retirement,” (SoulfulDetroit).

After pivoting between G# minor and the relative major key of B major, 2:15 brings a late modulation up to C# major before the fade out of this short single.

T-Pain | Best Love Song

“Best Love Song” was released as the first single from American singer/rapper T-Pain’s 2011 album Revolver. It features singer Chris Brown and the R&B group Once Chance. It reached the 33 spot on the Billboard Hot 100 and was used in the premiere of the TV show Hart of Dixie.

Beginning in G, the track shifts up to A at 2:50.

21st Century Limited | Your Smallest Wish

Even five decades after its active years, it’s rare to find a band with as tiny a remaining footprint as 21st Century Limited. A “Los Angeles soul group who released a couple (of) singles and appeared on the Blacula soundtrack in the early 1970s,” (Discogs) … “Three-fifths of the band went on to The Wattsline” — Quincy Jones’ vocal backing group during the mid-70s.

The October 23, 1971 issue of Billboard apparently saw great things for the band’s future, predicting that “Your Smallest Wish” would reach the Soul Singles Chart. But from there, the trail grows cold.

JB, who unearthed this tune for us, calls the rare single a “veritable harmonic ransom note.” After a start in F major, there’s a pre-chorus transition at 0:30, then a chorus in C major at 0:39. The pattern continues from there. Then a bridge/break (1:52) leads to a pause in the groove and another chorus at 2:06 — this time in D major, which lasts for the balance of the tune.

Sam Cooke | Blowing In the Wind

Written by Bob Dylan in 1962, “Blowing In The Wind” was ranked at #14 in Rolling Stone’s 500 Greatest Songs of All Time published in 2004. The song evolved into a protest song during the Civil Rights movement. Sam Cooke’s biographer, Peter Guralnick, claims that Cooke loved the song but wished it had been written by a person of color, and quickly incorporated it into his repertoire. This rare footage of a live performance shows how deeply he connected with the song’s message. Modulation at 0:46.

The Brothers Johnson | Stomp

The Brothers Johnson release Light Up the Night “was the album that Quincy Jones produced in late 1979 soon after helming Michael Jackson’s Off the Wall,” (BBC Music). Light Up the Night was a real UK soul radio favourite at the turn of the 80s, as it was another window into bright, shiny Californian sunshine amid the grimness of the early part of that decade. However, (it’s) all really about its lead single, ‘Stomp,’ a truly irresistible piece of post-disco groove. It is as good as the best of anything by their peers, Chic, Earth, Wind & Fire, and Rufus. Its killer chorus, well-arranged strings and bass breakdown from Louis Johnson make it one of perennial sounds of a Saturday night.

It was a US R&B #1 and reached #6 in the UK in March 1980 … The Brothers made some more decent albums before splitting in 1982. While Louis Johnson played bass on Thriller (it’s him on ‘Billie Jean’), George played guitar for Steve Arrington; Alex Weir, meanwhile, joined Talking Heads. The Brothers Johnson now reform periodically, but nothing comes close to the glory of this album. The sound of a fun, fertile time is truly captured here.”

The verse, which sounds for all the world like a an extremely funky study of major and minor thirds, starts in G minor; then the pre-chorus, first heard at 0:37, shifts to E minor before that “killer chorus” kicks in at 0:50 with a return to the original key.

Robert Glasper (feat. Ledisi + Gregory Porter) | It Don’t Matter

“Robert Glasper’s 2012 album Black Radio was a groundbreaking collection that combined hip-hop, R&B, jazz and more into a diverse yet cohesive package … (SoulTracks.com). It was justly honored with the Best R&B Album award at the 55th Grammys, recognizing both its ambitiousness and its near flawless execution. It also begat the critically acclaimed Black Radio 2 a year later.”

“Glasper has released two albums of what you might call neo-soul, or maybe organic R&B, featuring a core band (The Robert Glasper Experiment) and guest stars like Erykah Badu, Lupe Fiasco and Norah Jones. Black Radio and last year’s sequel, Black Radio 2, aren’t heard much on ‘urban’ radio, but the point is that they ought to be,” (NPR Music). “Glasper builds his songs with old-school values: singers and MCs who don’t need software to carry a melody, improvising within a band, hand-building beats and vamps with live instruments.”

After a start in Bb major, the bridge of this slow but cutting ballad shifts to Bb minor from 2:50 – 3:24 before reverting to the original key.

Regina Belle | Away In A Manger

Grammy-winning singer/songwriter Regina Belle released her first Christmas album, My Colorful Christmas, last month.

Discussing the album’s genesis, Belle said, “This Christmas record, My Colorful Christmas, will be my greatest of Christmas gifts this year and for many years to come. It was always an idea of my brother (Bernard Belle) that we should do one together, and now it’s complete. Two of my daughters are singing (Sydni and Nyla), my son’s on drums (Jayln), one of my brother’s best friends (Ronald Scruggs) and my niece (Janah Belle) are singing backgrounds, and my nephew (Jahmel Belle) is producing and playing drums as well. Bernie, this one’s for you!” Her brother Bernie passed away while the album was being recorded.

Belle’s arrangement of this standard is full of inventive reharmonization in addition its two modulations: from the home key of C up to Db at 0:43, and up another half step to D at 1:26.