“Hailing from the most acclaimed corners of the music industry, Brooklyn-based supergroup The Slim Kings — comprised of iconic drummer Liberty DeVitto (Billy Joel), renowned singer/guitarist MSB (40+ syncs), and top R&B session bassist Andy Attanasio (Black Thought) — come together with a vintage soul sound that takes you on a journey,” (Rough Trade).
“With fans like Jimmy lovine and Mark Ronson, and producers like Nick Movshon (Bruno Mars) and Steve Jordan (The Rolling Stones) – it’s music for people who just love music. With a recent boom on TikTok and a full length album, SUPERLOVE … The Slim Kings are proof that good vibes are contagious.”
2025’s “We’ll Be Alright” features a sepia-toned soul sound overlaid with a small side order of psychedelic wah pedal. The track starts in an E minor which briefly steps out of line here and there. At 2:25, a primarily instrumental bridge pivots us into F minor at 2:39.
“D’Angelo established himself as an unwitting founder and leading light of the late-’90s neo-soul movement, which aimed to bring the organic flavor of classic R&B back to the hip-hop age,” (Qobuz). “Modeling himself on the likes of Marvin Gaye, Curtis Mayfield, Sly Stone, and Prince, D’Angelo exhibited his inspirations not only with his vocal style — albeit with a stoned yet emotive twist all his own — but also wrote his own material, and frequently produced it, helping to revive the concept of the all-purpose R&B auteur. His first album, Brown Sugar (1995), gradually earned him an audience so devoted that the looser and rhythmically richer follow-up, Voodoo (2000), debuted at number one despite a gap of almost five years, and won that year’s Grammy for Best R&B Album. A wait of nearly three times that length preceded the release of the bristlier Black Messiah (2014), a Top Five hit that made D’Angelo a two-time Best R&B Album winner. The musician worked on material for a prospective fourth album before he died of pancreatic cancer (in October 2025).
Between proper LPs, D’Angelo took some time off and split acrimoniously with his management. Meanwhile, neo-soul, a marketing term coined by industry executive Kedar Massenburg, caught on as a legitimate subgenre with the success of like-minded artists such as Maxwell and Erykah Badu. D’Angelo surfaced on a handful of soundtracks, primarily via cover versions, contemporizing Eddie Kendricks’ ‘Girl You Need a Change of Mind’ (Get on the Bus), Prince’s ‘She’s Always in My Hair’ (Scream 2), Ohio Players’ ‘Heaven Must Be Like This’ (Down in the Delta), and Ashford & Simpson’s ‘Your Precious Love’ (a duet with Badu, for High School High) … He joined Lauryn Hill on ‘Nothing Even Matters,’ a cut off the Grammy-winning The Miseducation of Lauryn Hill” … and worked extensively with QuestLove, drummer from The Roots. “Raphael Saadiq stated in an interview roughly a year earlier that D’Angelo had been writing songs for the follow-up to Black Messiah.”
Starting in Bb minor, “Another Life,” the closing track from 2014’s Black Messiah, shifts into multi-layered territory at 1:11, sidling up to D major at 1:38 via some slinky compound chords. At 1:52, there’s a rather rash return to Bb minor, but the groove is so profound that you’ll just keep nodding your head. More key changes follow throughout.
“Cousins Melvin Hardin and Tim McPherson were from Mississippi, but they eventually moved to Chicago, where they were discovered by Gene Chandler,” (Popdose). “He … co-produced the smash hit ‘Backfield in Motion’ for them. Stax Records, as they often did, sent (Mel + Tim) to Muscle Shoals to record with the Swampers, two of whom, Barry Beckett and Roger Hawkins, produced the next Mel + Tim hit. ‘Starting All Over Again’ was written by Phillip Mitchell and released on Stax in 1972. The record, with its production modeled on the Chi-Lites hit ‘Have You Seen Her’ (including the use of the electric sitar), was a Top 20 hit on the Pop chart and reached #4 on the R&B chart. It remained on the charts for 20 weeks, and became Mel & Tim’s second million-seller.
It’s hard to know why some talented artists have long lasting careers while others fade away. Mel + Tim performed at the fabled Wattstax concert in 1972, but even that highly visible appearance didn’t help them find any real chart success with their subsequent releases. ‘I May Not Be What You Want’ (1973), ‘That’s the Way I Want to Live My Life’ (1974), and ‘Forever and a Day’ (1974) all found a place in the Top 100 on the R&B chart, but unlike Mel + Tim’s earlier hits, did not have much in the way of crossover success … ” In 1991, a nearly note-for-note cover of ‘Starting All Over Again’ by Daryl Hall and John Oates “became a Top 10 hit on the Adult Contemporary chart.”
At 2:41, an unprepared half-step key change hits during an instrumental section leading into the extended outro.
“Sly Stone, the remarkable, eccentric frontman, singer, songwriter and producer of his family group, Sly & the Family Stone, died in Los Angeles on Monday, June 9,” (NPR). “The musical icon had been battling lung disease, according to a statement provided by his family. He was 82. ‘While we mourn his absence, we take solace in knowing that his extraordinary musical legacy will continue to resonate and inspire for generations to come,’ the statement reads.
… Sly & the Family Stone’s sound was a dazzling fusion of psychedelic rock, soul, jazz, gospel and Latin … The Grammys gave him a lifetime achievement award in 2017 … Sly Stone was a musical visionary whose charismatic stage presence and distinctive vocals are now woven into the fabric of American joy.”
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We reprise a post from 2020 in honor of the life of Sly Stone, covering a track which is among the Family Stone’s most affirming and joyful:
Sly & the Family Stone “harnessed all of the disparate musical and social trends of the late ’60s,” AllMusic explains, “creating a wild, brilliant fusion of soul, rock, R&B, psychedelia, and funk that broke boundaries down without a second thought. Led by Sly Stone, the Family Stone was comprised of men and women, and blacks and whites, making the band the first fully integrated group in rock’s history. That integration shone through the music, as well as the group’s 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.”
Released in 1968, “Stand” is just one of a full line of unusual singles from S&TFS, not easily described by the vocabulary that preceded them. AllMusic continues: “Like Brian Wilson, Sly Stone incorporated beautiful, magical moments on his records that were some of the most musically progressive. In this song, a simple but brilliant four-on-the-floor drum pattern and gospel vocals create what would be the virtual blueprint for what was to become known as disco. Moreover, the song is yet another message song that helped bridge the gap between the black and white rock audiences…one of the most timely records of its age.”
The verse is built around a de-tuned Ab major (I / IV / I / bVII); the bVII major serves as a sub-V for the new key of F major (0:14), repeating the same pattern for Verse 2 (0:28) before reverting to Ab for the one-word chorus (0:51). Each switch from Ab to F is accentuated by a 2/4 bar among the overall 4/4 meter (heard for the first time at 0:13 – 0:14). An entirely new groove, built around a 4-bar pattern, kicks in for an extended outro in C minor at 2:18. The outro is a joyful, uproarious shout chorus featuring multiple vocalists on a repeated wordless vocal hook, instrumentalists playing at full tilt, and gospel-style eighth-note claps building on the already high energy — just as the slow final fade kicks in.
“William ‘Nick’ Allen, Sr. was a Durham (NC) barber who often styled the hair of musical celebrities traveling through Durham,” (BullCitySoul.org). “Allen launched his own singing career with the gospel group the Interns. Later he recorded the soul song ‘Hard Way to Go’ as a soloist. He was also the father of Nick Allen, Jr., the lead vocalist of the Modulations.”
The scant information available on Allen is lacking in detail. But his heartfelt vocal definitely swung for the fences with “Hard Way to Go” (1968). There’s some flutter on the source tape (particularly around 1:44), making it a bit tough to tell whether the chord is major or minor! Starting in G major, the track shifts to A major at 1:03. After a grand pause, at 2:13, a long outro hits, complete with a completely different groove. The outro takes awhile to settle in, but once it does (2:27), it’s in C major.
“Sly + the Family Stone brought funk to the party during what many consider the most fertile period in music history: 1969-1971,” (Songfacts). “This was an eclectic time when hard rock, bubblegum pop, Motown soul, and singer-songwriter tunes were all on the charts, and it was also the heyday for Sly + the Family Stone. They landed three US #1 hits during this time: ‘Everyday People,’ ‘Thank You (Falettinme Be Mice Elf Agin),’ and ‘Family Affair.’ All three also topped the R&B chart.
With two white members (drummer Gregg Errico and sax player Jerry Martini) and a female trumpet player (Cynthia Robinson), the group broke from convention defied expectations. Robinson was particularly influential, encouraging girls to play the trumpet at a time when it was a very male-dominated instrument.
‘Everybody is a Star’ (1970) was released as a double-A-side single with ‘Thank You (Falettinme Be Mice Elf Agin).’ The single went to #1 in the US, so under Billboard methodology at the time, the chart position is attributed to both songs combined. Like many Sly & the Family Stone songs of this era – ‘Everyday People’ and ‘Stand!’ among them – ‘Everybody Is A Star’ has a message of togetherness and self-worth. These songs were set against joyful melodies that kept them from sounding preachy. They went over very well at live shows where a sense of community formed.”
The intro and verse is in Bb major; the chorus, featuring various wordless vocal solos and groups, (heard for the first time from 0:54 – 1:15), is in C major. Clocking in at just over three minutes, the tune features the second chorus as an extended fading outro as well.
“It starts with the voice. You either get it or you don’t — and though it took too long, by now almost everyone does,” (Robert Christgau). “Al Green’s mid-range generates a mellow burn like good single-malt Scotch and is cut by a rotgut roughness when he growls and a signature falsetto finer than wine. It’s hard to believe the Michigan-raised, Memphis-based Arkansan, born Albert Greene and now 61, was once dissed for being less manly than Otis Redding–women have always adored him. He seemed both vulnerable and passionate, and he minded his subtle touches like a love man should.
Green started in gospel, and after a return to Jesus and a fall from grace on the charts, he reinvented himself as a gospel singer in 1980 and eventually amassed a sacred catalogue to rival (although not equal) his secular one. That catalogue, especially his miraculously consistent Hi (label) albums with producer Willie Mitchell, has replaced macho pleas and pledges as the epitome of soul … Truth ‘n’ Time, the final album before (Green) devoted himself to his ministry (1978), is yet another expression of his mixed feelings about God and Mammon … Mammon just wasn’t doing it for him anymore.”
Starting in E major, “Happy Days Ahead” shifts to C major at 0:37, only to return to first key at 0:57. The pattern continues throughout.
“Continuing the foray into rock begun on 1971’s Givin’ It Back, The Isley Brothers’ 10th studio album Brother, Brother, Brother serves as yet another advancement in the Cincinnati-founded R&B/soul outfit’s signature sound, which carried it to superstardom on the following year’s 3+3,” (UnderTheRadar). “Though understated and restrained in comparison to their more bombastic masterworks, Brother, Brother, Brother is an important Isley Brothers release, its crisp Midwestern soul backbone providing ample support for the group’s more ambitious rock and funk aspirations.
While less realized than much of The Isley Brothers’ future output, Brother, Brother, Brother serves as a gateway to their ’70s golden age. The following year, the band would release its monumental hit ‘That Lady’ … In retrospect, Brother, Brother, Brother feels like a blueprint of explosive greatness to come, the Isleys joining together to function as an unstoppable whole. After five decades, the album sounds unusually fresh, The Isley Brothers having remained pioneers of their genre.”
“Love Put Me On the Corner,” a ballad track from Brother, Brother, Brother, starts with a piano intro in F# minor, accompanied only by gentle mallet cymbal, that sounds like it could have been part of a Joni Mitchell interlude. At 0:22, there’s a shift to F lydian, then another (0:42) to G major with the addition of a gentle groove and a widely dynamic Hammond organ for the verse. The chorus, arriving at 2:46, pivots through 2:46-3:15 with several pairs of compound chords. The pattern continues from there.
“If you are a fan of the organ (and we know you are), gritty funk, and beautiful original soundtracks, these guys are for you,” (Cole Mine Records). “The SFSE is a heavy, original, instrumental soul band based out of San Diego, CA that released their debut self-titled album on Colemine Records in June of 2015.”
“The Sure Fire Soul Ensemble rock an instrumental style of soul and funk with a long history, drawing upon contemporaries like Budos Band and El Michels Affair, then going back through a lineage that includes Poets of Rhythm, The Meters, and The Bar-Kays … It’s a gritty and raw style of funk …” (Scratched Vinyl). “SFSE is a large group, with three percussionists, three horn players, keyboards, bass, guitar, and drums, which gives them a nice full sound. Of course, it only makes sense to rock a group this big if you can be tight enough to make it worth it … SFSE lay(s) down grooves that will have you bobbing your head and making stank face …”
The SFSE’s 2022 track “La Fachada” begins in Bb minor, shifts to a strings tremolo feature section in Gb major at 0:28, and then drops into a horns-driven section built on a spicy Cb augmented chord at 0:50. These sections alternate until a bridge section in C major appears (1:59 – 2:20) before returning to the regular rotation.
“The Brit pop trio’s bubbly soul ditty is, thanks to Shingai Shoniwa’s sweet crooning, reminiscent of an early Motown party groove,” said USA Today upon the release of “Never Forget You” in 2009. Written by all the members of this English band, the track reached #20 on the UK Singles Chart. It begins in D and, after a more subdued bridge in B minor, modulates up to E at 2:09.
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