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I've got a Love Jones

Fifteen years ago today I was a young, couldn’t-tell-me-anything, about to be college graduate who was anxiously waiting to leave the university life behind and move on to put my mark on the world.

The year 1997 held so much promise for my life. I was proud of myself for making it through school in four years (I knew many who were on the five, six and even seven-year plan).

That year, on March 14, the movie I feel in love with and have watched at least 100 times was released. Is it any surprise it also happens to be my all-time favorite film?

Love Jones’ storyline has a real basic premise: love, friendships and relationships. Man meets woman at a time when woman is not ready to involve herself with any man. Undeterred, man continues to pursue woman and the tale unfolds from there.

I remember driving 60 miles roundtrip – twice – to see this movie (this was the closest theatre to the college I attended that was showing the film). The first time, I went with the girls, and the second time with my then boyfriend, his roommate and girlfriend.

I tell you, watching a movie like this with distinctly different groups of people is quite interesting. Seeing it with my boyfriend put our relationship in a different light and had me looking at him sideways more than a few times.

But I digress.

This movie has come to mean different things to me over the last 15 years. Back when I was in college, (and even now) I definitely related to the main character, Nina Mosley (played by Nia Long), the photographer whose heart is on the mend after a failed romance.

She’s closed herself off to love, until a chance meeting at The Sanctuary (a popular local spot in Chicago where poetry and music blend in a way not seen before on film).

Darius Lovehall (played by the delicious and sexy Larenz Tate), is the poet/writer who could possibly be the man that breaks down Nina’s barriers, and allows her to open up to the possibilities of it all.

Of course it won’t be easy, and the ride that ensues is definitely a twisting, winding rollercoaster – it has its high, highs and low, lows.

For me, watching the tale and all its subplots is so real because I’ve lived through some of the scenarios. And if I haven’t, I know someone who has.

This being a music blog and all, I must mention the score in Love Jones. It is the one movie soundtrack I still listen to so many years later (of course it’s playing in the background as I write this).

I also happen to consider it the ultimate movie soundtrack. Outside of Purple Rain, I really haven’t heard a soundtrack that pairs so well with a movie from beginning to end.

Opening and concluding with poetry from the film (by Darius and Nina respectively), the music in Love Jones ties the various themes in the movie together rather well.

There’s Dionne Farris singing about being Hopeless – “Hello morning/now when does the fun begin/goodbye morning/sorry it had to end/well see I cried just a little to long/now it’s time for me to be strong/hello morning/I sure missed you last night/goodbye morning/you just won’t do me right/I stayed just a little too long/now it’s time for me to move on/they say I’m hopeless/as a penny with a hole in it.”

You have Maxwell crooning ever so gently these lyrics: “Sumthin’/even though you never wanna show affection/I won’t go, I’ll always wanna show attention/so if it’s cool we can do a little, sumthin’/let me groove with you babe/and break you off a little sumthin’/you’re my, my chocolate so sweet/and you make me feel so good/when you’re lovin’/so if it’s cool/I wanna rock with you/rock you until your blue, sumthin’/let me break you off baby/break you off, sumthin’ ” on Sumthin' Sumthin': Mellosmoothie (Cut).

Put this song on when you want to set a certain mood and I can almost guarantee you will have a story to tell in the a.m.!

But the song I love best is sung by Kenny Lattimore. Can’t Get Enough literally is a great summation of Larenz Tate’s character Darius – “I was anticipating/changes in your personality/when things weren’t what they seemed/my pride got the best of me/she was my way of getting by/and I keep asking myself why/and will I lose you over a meaningless lie.”

Every time I listen to this soundtrack, I can’t help but see flashes of scenes from the movie. For instance, Jelly, Jelly by The Lincoln Center Jazz Orchestra, plays after the couple has a “perfect” date, and Nina wants the night to end differently than what Darius has in mind.

What happens next while the song is playing is so appropriate – Nina laying in bed, resisting the urge to go back downstairs while Darius resists the urge to, well you just have to see the scene for yourself.

If you have yet to experience Love Jones or heard the soundtrack, I won’t hold it against you. But, if after reading this you still aren’t moved to rent the movie or at least listen to the tracks on iTunes, well, you aren’t in your right mind.

I’m just saying.

So, happy 15th anniversary Love Jones (and Love Jones Soundtrack, which was released on March 11, 1997). The message in the movie and music are still pertinent today – despite the obstacles, peaks and valleys one sometimes faces when it comes to love, in the end, it’s all worth it if you’ve got a Love Jones.

Unsung: The Story of David Ruffin

As I watched the story of David Ruffin’s life, I realized I wasn’t all that familiar with The Temptations nor was I a huge fan. Yes, I like such songs as My Girl¸ Just My Imagination and Get Ready, but liking a few songs hardly qualifies me to say I’m a fan.

Yes, I’ve seen The Temptations movie, but I’m sure there were some elements of the story that were embellished.

The Temptations are my mother’s generation’s music. She still sings along (and knows ALL the words) anytime one of their songs comes on her stereo. Me? I just listen to the group’s harmony and groove to the catchy beats.

Still, I was fascinated watching the story of a man who begged to join a group that was already well established before he came along.

While the group wasn’t in need of a sixth member when David asked to join, he soon received his chance after a fight between original members Al Bryant and Paul Williams resulted in Paul being fired.

One could say the addition of David provided an infusion of energy. While they had moderate success before the lineup change, with David singing lead, the group finally achieved something that has previously alluded them – a top 10 single.

My Girl (on which David sings lead and was written by Smokey Robinson and his band mate Ronnie White) turned out to be the group’s first number one pop hit, and is probably the one song most associated with The Temptations.

After My Girl’'s success, David was tapped to sing lead on Ain’t Too Proud To Beg, (I Know) I’m Losing You, and (Loneliness Made Me Realize) It’s You That I Need, all of which became hit recordings.

Unfortunately, success would eventually be the demise of David Ruffin remaining a member of The Temptations (he thought the group should be renamed David Ruffin & The Temptations, like Diana Ross & The Supremes). He was ultimately replaced in 1968 after a four-year run.

Trying his hand at a solo career, David had modest success, but never came close to the stardom he achieved with The Temptations.

Usually when person of David's caliber dies as tragically as he did, the focus generally turns to the negatives instead of the impact their talent had on others. For David, it was him dying of a crack cocaine overdose.

It was clear from this episode of Unsung that those who knew him best wanted the world to know there was much more to David Ruffin the world was unaware of, and crack was simply something that happened to take his life.

Some things I was unaware of:

• David’s brother Jimmy also wanted to join The Temptations, but according to original member Otis Williams, Jimmy had “bad feet and couldn’t dance.”
• One of the first to challenge Berry Gordy’s handling of the money, David sued Motown in 1968 to be released from his contract. He lost.
• He rarely talked about his childhood, but his older half-brother, Quincy wrote a book in 1989 detailing the abuse they suffered at the hands of their father. While David Sr. was a well-known preacher, he severely abused his kids mentally, emotionally and physically.
• Survived by four children (Cheryl, Nedra and David Ruffin, Jr., and Kimberly Ruffin-Jones), David was married twice, and was described by his children as a fun-loving father who “enjoyed who he was. He embraced it, he loved it, he practiced it,” said David Jr.

Note: Unsung is a music biography series on TV One that recaps the life of some of music's forgotten artist who are, “Uncompromised, unrecognized, unparalleled, unsung.”

In its fourth season, the show airs Mondays nights at 7 p.m. PST. Artists previously featured include DeBarge, Big Daddy Kane, Minnie Riperton, Teddy Pendergrass, Donny Hathaway and The O’Jays.

Catch Unsung: The Story of Whodini tonight, March 12 at 7 p.m. PST. You also can catch the re-run at 10 p.m. PST.

Unsung: The Story of Sheila E.

I’m embarrassed to admit this, but here goes – I didn’t know Sheila E., was the voice singing alongside Prince on Erotic City.

This I learned on the latest edition of TV One’s Unsung.

I have listened to that song countless times and it just never dawned on me that I should have known whose voice was saying, “If we cannot make babies, maybe we should make some time.”

Sheila E., also cleared up one often debated fact regarding Erotic City – are they saying “funk” or you know, the other “F” word?

“There were some words in the song, that I thought ‘I can’t say that.’ So I didn’t. He said it. I didn’t say it. He … made it sound like maybe you did hear it, maybe you didn’t hear it, but I didn’t say it,” she clarified.

Now, I just listened to the song a few times and honestly, it sounds like both of them are saying the curse word. I guess we have to take her at her word though.

I was in the fourth grade when Glamorous Life was released. It was the early 80s, our fashion sense was questionable, but the music wasn’t.

One thing I knew at the time – while I wasn’t living the Glamorous Life (I mean really, I wasn’t even in my teens), I sure wondered what it would be like to be in that world.

As an adult, I listen to the song’s content and think, “This song was so inappropriate for my young mind.” But I didn’t quite comprehend what she was saying:

“Boys with small talk and small minds

Really don't impress me in bed

She said, I need a man's man, baby, diamonds and furs

Love would only conquer my head”

The lyrics were definitely mature for my age group at the time, but all I knew at the time, was I loved the beat.

Before she transformed into Sheila E., she was Sheila Escovedo. Born into a musical family (her father is Pete Escovedo the legendary percussionist who has played with Santana), she’s been playing drums almost her entire life.

Her parents initially steered her towards the violin – “They said why don’t you try violin because then you can make money, you can play for the movies, and score and read music and all of these things he hadn’t done,” she said.

Her life changed at age 15 when she replaced the percussionist in her father’s band. The show in Bogotá, Columbia “turned my life around.”

Interesting tidbits:

• Prince knew who she was way before they met at a club in 1978 as he had been following her career. The two would become friends, date, separate for a while and eventually reunite as friends. Prince also made her debut album happen. “He said, ‘Well, okay, I can make it happen for you if you want to do a record.’ And I said, ‘Just like that?’ He said, ‘Yeah.’ I said, “Okay, let’s do a record then,” she said.
• Growing up in Oakland, CA Sheila E., didn’t realize she was Hispanic. In her community, there was black and white; she thought she was Black.
• Even though her father and two brothers are musicians, the family has only recorded one album together. Now & Forever was released in 2011.
• She used to go into record stores wherever they went to make sure the store was carrying her album. She would move hers to the front because it cost to have your CD placed there. 
• Sheila appeared in the 80s classic Krush Groove where she performed Holly Rock. “They thought I was coming in as a female rapper and I said that’s not what I am, I’m a musician, I’m an entertainer, I’m a musician, I’m not a rapper.”
• A trip to the acupuncturist for a pinched nerve in her neck and shoulder resulted in a collapsed lung – which she walked around with for a week before realizing there was an issue. Her back went out and she was partially paralyzed for two weeks. She spent four months  learning how to walk straight. “Every single day, therapy, twice a day to walk six blocks.”

Note: Unsung is a music biography series on TV One that tells the story of some of music's forgotten artist who are, “Uncompromised, unrecognized, unparalleled, unsung.”

In its fourth season, the show airs Mondays nights at 7 p.m. PST. Artists previously featured include DeBarge, Big Daddy Kane, Minnie Riperton, Teddy Pendergrass, Donny Hathaway and The O’Jays.

Catch Unsung: The Story of David Ruffin (of the Temptations) Monday, Feb. 27 at 7 p.m. PST.

Heavy Rotation – Soon As I Get Home by Babyface

Happy Friday!

This song was selected as my "Heavy Rotation" by coincidence. The other day I was listening to my iTunes library on album shuffle, and up pops Soon As I Get Home by Babyface.

It’s been awhile since I heard this song. Appearing on his 1989 release Tender Lover, the premise of the tune is simple – if the guy you’re dating isn’t treating you right, Babyface most definitely will.

He has no issue with paying rent, buying clothes, cooking a good meal and being a faithful lover. All a woman has do to is wait for him to get home from work!

The chorus:

“I give good love
I'll buy your clothes
I'll cook your dinner too
Soon as I get home from work
I'll pay your rent
Your faithful lover
Soon as I get home, soon as I get home from work
Girl, I'll treat you right
And I'll never lie
For all that it's worth
I give good love (good love, good love, good love, good love)”

Soon As I Get Home  is a refreshing reprieve from the “women are gold diggers” mantra that some men have adopted as of late. Here, you have a man willing to lay out the cash, cook and never do a woman wrong.

Not only that, he won’t even flirt! He’ll probably pay for dinner if you become tired of his home-cooked meals (but with a man like this, would you even dare complain?)

Second verse:

“It doesn't make sense
That you should have a broken heart
If I were the only one
I'd never let you fall apart
You're the kind of woman
That needs a man with lots of cash
With a stack of major credit cards
And with me you don't have to ask.”

Does this man really exist?

Unsung: The Story of Ray Parker, Jr.

Note: Unsung is a music biography series on TV One that tells the story of some of music's forgotten artist who are, “Uncompromised, unrecognized, unparalleled, unsung.”

In its fourth season, the show airs Mondays nights at 7 p.m. PST. Artists previously featured include DeBarge, Big Daddy Kane, Minnie Riperton, Teddy Pendergrass, Donny Hathaway and The O’Jays.

Following is a recap of Unsung: The Story of Ray Parker, Jr.

There’s more to know about musician Ray Parker, Jr. other than he was behind the mega 1984 hit Ghostbusters.

Much, much more.

Born Ray Erskine Parker, Jr. on May 1, 1954, he was reared in Detroit – well within walking distance of Motown Records.

Just 10 years old when he formed The Stingrays, Parker initially played the clarinet, but would eventually master the guitar after a bike accident left his broken leg in a cast at age 11.

Not able to do much else but practice the musical instrument that would ultimately bring him success in the music industry, Parker practiced “. . . all day, everyday, for like a year, year and a half. And the more I practiced, the more I wanted to practice until my dad would get upset and put the amp on the porch,” he said.

At age 13 he was jamming at the famed 20 Grand nightclub in Detroit where he played with the legendary Funk Brothers. During the rest of his teen years, Parker toured with The Spinners and Marvin Gaye. He also regularly participated in recording sessions at Motown and Invictus Records.

Parker didn’t last long in college; in 1972, he was offered an opportunity to join Stevie Wonder’s band on the road. While he was thrilled, Parker’s father was not. Still, Parker toured with the Rolling Stones and appeared on Wonder’s classic LP Talking Book.

Childhood friend Nate Watts said, “Ray went through Stevie’s Wonder's school of music, and he'll tell you in a minute he took a lot, learned a lot.”

Parker left Wonder Love after several months, journeying to Los Angeles where the knowledge he gained helped land him job with singer Barry White’s Love Unlimited Orchestra.

More than a guitarist, Parker was also a gifted song writer. As a novice in the business, he unfortunately did not receive writing credits on Leo Sayer’s hit song You Make Me Feel Like Dancing. The song won a Grammy award (Best R&B Song) in 1978.

“One of the darkest moments in my life. For a second I thought about suicide. For five seconds, I thought about going to Detroit and shooting everybody involved. But none of these things were the real answer to it, and what good came out of it is everybody knew I did the song,” Parker said about the situation.

Receiving a recording deal from Clive Davis, who at the time was founder and head of Arista Records, Parker created Raydio, a four-person band consisting of two singers (Arnell Carmichael and Jerry Knight), a keyboardist (Vincent Bonham) and himself.

Their first single, Jack & Jill, headed straight to the top of both the R&B and pop chart in 1978. The self-titled album would go on to achieve gold status.

Difference of opinion regarding money initiated the replacement of some original band members, but that didn’t stop the group’s second album, Rock On, from also obtaining gold while crossing over onto the pop charts once again.

The lead single, You Can’t Change That, was originally written for The Spinners, and finally showcased Parker’s vocal ability.

While not confident in his singing, Parker said, “My vocal chords just had not been exercised, and it just didn't sound right. So it's not having insecurity in my singing as much as I knew I couldn't sing.”

Eventually, he would shed his insecurities and release a solo effort – The Other Woman – which, you guessed it, went gold.

All told, Parker recorded six back-to-back gold records.

By the time the mid-80s and Ghostbusters rolled around, Parker was an established guitarist, song writer, producer and singer.

Wildly successful in the United States, Ghostbusters would prove to be extremely popular in other countries – going platinum in eight. The song also would give Parker his first Grammy Award (Best Pop Instrumental Performance).

Parker’s time in the spotlight began to wane after switching from Arista to Geffen Records. Releasing only one album on Geffen, it failed to crack the top 50. He eventually settled down and married at age 40.

Today, Parker has four sons and has the luxury of working not because he has to, but because you wants to.

Interesting tidbits:

Parker wrote and co-produced New Edition’s smash Mr. Telephone Man. “I was surprised when it became a hit. You know what? I was surprised when we finished cutting it. It sounded pretty good. I was like, 'Why didn't I cut this song?’ ” he said.

Parker’s was the session guitarist on Cheryl Lynn’s Got To Be Real.

Because of the cross-over success of Raydio, Clive Davis had an easier time marketing records to both R&B and pop audiences, paving the way for future Davis-backed stars such as Whitney Houston, Toni Braxton and Usher.

Catch Unsung: The Story of Sheila E. Monday, Feb. 27 at 7 p.m. PST.

Heavy Rotation – Yes by Musiq Soulchild

Welcome to the first installment of “Heavy Rotation!” Each week, I will profile either a song, album or artist that I have on continuous playback.

Musiq Soulchild has the honor of being the first artist of the song I currently have on repeat. The song on rotation in my iPod is his latest release Yes. If you have been a follower of Musiq's career, you know that he has several songs where he opens his heart and puts his feelings on display for all to see.

Don't Change from Juslisen, Betterman and Today from Luvanmusiq, Special, Someone and SoBeautiful from OnMyRadio and of course Yes from Musiqinthemagiq are just a few examples.

Yes is essentially a reassurance to the one he loves. While the lyrics are different, Don’t Change and Yes have the same premise – no matter what we go through, no matter what happens to you physically, I will always be there for you.

The chorus for Yes is a great summation of why this song has been stuck in my head this entire week: “When two or three years from now/you start having some doubts/’bout if this love will last/the answer is yes/I'll still think your beautiful cause I'm more attracted to what's inside of you/you don't have to guess/the answer is yes.”

The accompanying video does a great job of bringing the song to life. Depicting a woman who is battling breast cancer, it follows her journey while Musiq offers his support through her difficult times.

Visually, the video does an excellent job of bringing the song to life.

This would make a great first dance song at a wedding. 

Fast-forwarding through the Grammys

I know I’m not alone when I say I only tuned into the Grammys last night to see how they would honor Whitney Houston.

While I’m a lover of music, my tolerance of the Grammys has waned through the years. Having to sit through more than three hours of a television show full of acts I usually have not heard of or listened to is not my idea of a productive evening.

Besides, the Grammys can be quite boring.

Hence the reason I waited two hours after the show began to start my DVR recording playback. Watching this show and being able to fast forward past the stuff I have no interest in was the only way I could sit through the ceremony. 

The inventor of the DVR is a great individual; I was able to watch a 3½ hour program in an hour and a half.

While there really wasn’t one moment that stood out for me, here are my highlights:

LL Cool J is to be commended for opening the ceremony with a short, but heart-felt prayer for Whitney (which were his own words). He tastefully acknowledged “the death in the family,” and was able to keep the show moving along, despite the previous night’s events.

Oh, and he looked damn sexy on that stage. He gave me a reason to slow down on the fast forward at times. That man’s physical features only improve as he ages.

Bruno Mars telling the audience to “get off your rich asses and let’s have some fun?” Hilarious! Especially because they got up!

The Alicia Keys/Bonnie Raitt tribute to Etta James was poignant. Both have incredibly strong vocals, and singing one of their favorite Etta classics, Sunday Kind of Love, will hopefully keep the memory of Etta going.

We all know Chris Brown is an incredible dancer, but the Grammys is about the music. While he did his thing, I would have preferred more singing to go along with all that jumping around he was doing.

When it comes to selecting the “best,” I wonder what the thought process is of the members of the National Academy of Recording Arts and Science. Have they actually listened to the music they select, or is it more of a popularity contest?

Chris Brown looked and sounded surprised (I was surprised myself) when he won his first Grammy over Ledisi (his open shirt was not sexy). I might be a bit biased because I love Ledisi and think Chris’ music is alright, but there is no way his F.A.M.E. should have beat her Pieces of Me for Best R&B album.

Ledisi also lost out to Cee Lo Green in the Best R&B Song category. Cee Lo won for Best Traditional R&B Performance as well. Now, I’ve listened to a few Cee Lo songs, and nothing about his music screams “traditional” R&B.

Which brings me to another point. Many of Adele’s songs sound more R&B yet she was nominated in the pop categories. Cee Lo's sound is more alternative or even pop, not R&B. Whoever is deciding what music fits where needs to look beyond race when making classifications.

Even after winning five trophies (which included Record of the Year where she stated, “I know it’s not really a pop record”), Adele looked genuinely surprised when her name was called for Album of the Year. Her almost “ugly” cry was touching because she really did appear to be overwhelmed with all the recognition.

It amazes me how Stevie Wonder usually always receives a standing ovation whenever he’s on a program; shows just how loved and revered he is.

I’m not quite sure what to say about Nicki Minaj’s performance. It was, um, different? Interesting? Convoluted? Controversial? Or was it just a hot ass mess?

Katy Perry, on the other hand, sounded like she was sending a message to her soon to be ex-husband Russell Brand. Lyrics from Part of Me include, “So you can keep the diamond ring/it don’t mean nothing anyway/in fact you can keep everything/except for me.” Tell him girl!

Even though I skimmed through the show, I didn’t appreciate the tribute for Whitney being almost two hours and 45 minutes into the telecast.

But, Jennifer Hudson appearing composed a little more than 24 hours after the loss of one of her idols, singing such an emotional song shows the professionalism and strength Jennifer obviously possesses.

Accompanied only by a piano, she didn’t over sing the song; didn’t go for the well-known high note Whitney had hit countless times before. It was a tasteful and an appropriate way to honor the legacy of greatness.

My fond memories of Whitney Houston

While it’s been more than two years since the world lost Michael Jackson, it’s still difficult wrapping my brain around that fact. There are still days when I say out loud "Michael Jackson is dead."

I’m now left with my mouth hanging open yet again in disbelief at the news of singer Whitney Houston passing at the young age of 48.

You are hard pressed to name another singer that has the vocal ability of Whitney. I’ve heard many others try and imitate her, and very few have come close to matching her range and ability.

While the last few years of her life were turbulent, I choose to remember the Whitney that made Dolly Parton millions with her rendition of I Will Always Love You . While written and originally sung by Parton in the 70s, it would be Whitney who took it to another level in the 90s, making it a number one record that stayed on the charts in that position for 15 weeks.

The song appeared on the soundtrack for the movie The Bodyguard in which Whitney not only starred in, but provided the majority of music. The Bodyguard soundtrack spent 20 weeks at number, was certified 17x platinum, was the first album to sell more than 1 million records in a single week. To date, it has sold more than 44 million copies world-wide, making it the best-selling soundtrack of all time.

Whitney broke countless records – when her first album was released in 1985, it was the best-selling record by a female artist. Her second album, Whitney, would make her the first female EVER to debut at number one on Billboard. She also was only the artist to chart seven-consecutive number one singles.

I remember the Whitney Houston of the 80s that had me dancing around my house singing I Wanna Dance With Somebody (Who Loves Me). Who can forget that big hair and her two-step dance moves (I love the two step!)

Her debut album, Whitney Houston gave us the classic songs You Give Good Love, Saving All My Love For You, How Will I Know and Greatest Love of All. The last song conjures up a fond childhood memory.

The year was 1985 and I'm in the fifth grade. That year, the inspirational Greatest Love of All was just one of Whitney’s hits – and my favorite. For some reason, I had it in my mind it would be a good idea to sing it at the school talent show. I don’t remember much, outside of being really nervous and other classmates being on stage with me.

Needless to say, that was the first (and last “official”) time I sung in front of an audience.

When Saving All My Love For You was released, my sister and I would go back and forth on what she was singing in one particular line. The line was, “I got to get ready,” but I swore up and down she was saying “I got to get petty.” Makes absolute no sense at all, but I just knew what I heard!

Thank God for the Internet sites where we can now look up song lyrics.

The other disagreement my sister and I always had was who was better, Whitney or Janet Jackson. There wasn’t a thing my sister could say to convince me that Whitney was a better talent than Janet. Of course I see the error of my ways now, but I guess as a young child I related to Janet more than I did Whitney.

It’s a blessing that Whitney left us with a legacy of timeless music that will endure long after the story of her death fades from the headlines.

Smokey Robinson said it best on CNN last night: “She is one of the greatest voices in the history of music.”

Thank you Whitney Elizabeth Houston, for sharing with the world your God-given talent – which I knew was beyond measure, but I didn’t fully appreciate until this very moment, when your voice was silenced by death.

May you be remembered more for what you gave us vocally and less for the trials and tribulations you faced throughout your life.

Paying homage to Soul Train

In October 1971, a Chicago journalist turned disc jockey named Don Cornelius brought a show – that was initially started locally – into millions of homes across America.

That show, Soul Train, went on to become, according to wikipedia.com, ". . . the longest, continuously running first-run syndicated program in television history."

Soul Train provided viewers the opportunity to see musicians who otherwise were pretty invisible on television, and the soul music artists were able to reach a wider audience, thus giving them the ability to attract even more fans.

Every Saturday afternoon, households everywhere would tune in to see “the hippest trip in America” with its latest dance moves and fashion trends of the moment.  The “Soul Train Line” became (and still is) a staple at events such as weddings, graduation and birthday parties.

Almost 40 years later, viewers are left with memories of Cornelius signing off every show with his signature “. . . and you can bet your last money, it’s all gonna be a stone gas, honey! I’m Don Cornelius, and as always in parting, we wish you love, peace and SOUL!”

Cornelius died on Feb. 1, and while we are all left wondering what would motivate this 75-year-old man to take his own life, only Cornelius knows the reason.

In tribute to his legacy, on Feb. 4, individuals in Times Square filled the streets and broke into a Soul Train Flash mob.

Today, in the honor of Don Cornelius’ creative endeavor, I offer a few of my favorite Soul Train moments:

A few years ago, my sister recorded an episode of Soul Train featuring Chico DeBarge performing Talk to Me. I have NEVER laughed so hard in my life. I know it was the 80s, and as I child of that decade, I can look back and honestly say we were a hot mess at times. Well, maybe more times than I'll admit, but every decade has their moment.

Chico was beyond a mess with his cut-off shirt and slick hair. I’m not sure what look he was going for, but it appeared to be a bad imitation of Prince and his brother, El DeBarge.

And his dancing? Whew, I’m cracking up just thinking about him kneeling down and popping back up where he promptly goes into this side-to-side move. Michael Jackson he definitely wasn’t!

I couldn’t find the exact clip on YouTube, but this one will have to suffice as it comes close to his Soul Train appearance.

I always had a great affection for the Soul Train Line seeing as though I know I would have never made it down the line (my idea of dancing is the two-step, which I do quite well, thank you oh so very much). I think the moves from the 70s were way better than the 80s (and so was the fashion. I’m still trying to figure out what we were thinking when we got dressed in the 80s!)  Here’s a clip of Cornelius himself taking a stroll down the line.

Two words – New Edition! One of the best groups to come out of the 80s, NE appeared on the show many times. Here they are in 1985 singing Candy Girl wearing matching white outfits and dancing in formation. I loved them then, and I love them now!

Lastly, one thing that always bothered me about the show was the lip synching. I still do not understand why the artists couldn’t sing live! Those who appeared on Soul Train were not like some of today’s singers who were created in the studio.

The likes of Gladys Knight, Marvin Gaye, The Jackson Five, Aretha Franklin and Barry White all appeared on the show and could have done easily sung live.

A recap of 2011

Looking over my ticket stubs from last year, it’s amazing how many shows I attended! I honestly forgot about one concert (luckily the notes I took reminded me).

Here’s a recap of the shows I attended in 2011.

Ledisi – Jan 23, 2011, Yoshi’s Oakland

In referencing my notes from this show, I wrote, “Watching Ledisi perform is like watching her make love to the mic.” There’s something sensual about watching Ledisi perform. She invites you into her world with the sway of her hips, the twinkle in her eyes and the sassiness of her voice.

Ledisi’s vocals have a richness and depth that not only holds your attention, and captivates you at the same time. You can’t help but get caught up at a Ledisi show.

After each song performance, you were left to ponder the message of her music. Highlights included Joy (Ledisi stated this song almost didn’t make it onto Lost & Found), Knockin' (she repeated the first verse so the audience could really understand the song’s meaning) and Alright (according to Ledisi, she wrote this at the lowest point of her career).

At the show’s end, Ledisi offered tidbits of wisdom, including, “Leap out on faith. Fear stops everything. When you open the door of fear, there’s a blessing on the other side,” and “Be careful of who and what you allow in your personal circle, because not everyone deserves your presence. Love them from afar. Keep it movin’. Everybody can’t go where you’re going.”

The Floacist – Feb. 26, 2011, 330 Ritch, San Francisco

It still pains me that Floetry is no longer together. There are times when I wish whatever separated the duo could be resolved so they could reunite for at least one more album.

In the meantime, both The Floacist (Natalie Stewart) and Songstress (Marsha Ambrosius) have gone on to release solo projects, and Floetic Soul, the Floacist’s individual effort, was one of the best albums released in 2010 (although she didn’t have the benefit of great hype and publicity). I jumped at the opportunity to see her live in 2011.

The energy The Floacist exuded during her performance went well beyond the confines of the small venue’s walls. While it was February in San Francisco, her attire was more suited for Los Angeles in June. While she may not have been dressed appropriately for the weather, her personality showed she wasn’t bothered by the rain, cold and ever-present San Francisco fog. With close-cropped hair, she came to “perform for the seen and unseen.” And what a performance it was.

Not used to hearing The Floacist sing, I was pleasantly surprised that her vocals are actually really good. Beginning with Breathe – which is the first song on her album (and, as I often say when I absolutely love a song, ”it’s my cut”), you could tell there have been moments where she’s held on to the past longer than necessary.

But she’s breathing now.

The rest of the set included Forever, What R U Looking 4? and I Need You, which turned into a chant when she repeated  the chorus several times:“Be there when I need you/even if you cannot come when I call you/simply means that I can handle this without you/and know that next I see you/it will be just when I need you.”

Chrisette Michele – April 17, 2011, Yoshi’s Oakland

Encouraged to be true to herself through singer Erykah Badu's influence, Chrisette Michele opened her heart and soul during her well-attended performance. A gifted song writer, Chrisette peppered her set with background stories on her songs, the meaning behind If I Had My Way, which is about abstinence, not sex, traveling 65 miles to Brooklyn, NY to attend church when she was younger, pleasing her pastor and her admiration for Michael Jackson.

Some songs were her “angry” moments (Goodbye Game and Blame It), but she had some sweet ones as well (Golden and All I WAnt Is You). If you are in the Oakland, CA, area, catch her at the Paramount Theatre on March 17. Ticket price range: $23-$63

Vivian Green & Eric Roberson – May 26, 2011, Yoshi’s Oakland

Vivian Green hit my radar when she was a backup singer for Jill Scott. Since 2002, she's released three albums – A Love Story, Vivian and Beautiful.

Vivian is one of those artists that is a talented vocalist, but somehow, she hasn’t attained broad recognition. It’s such a shame because she can easily compete with Jill Scott, Erykah Badu and Ledisi.

I’m a newcomer to Eric Roberson’s music, so I went into this show not really knowing his music or what to expect.

I left a new fan.

This show started with the flip of a coin to decide which artist would perform first. Eric won and because I wasn’t familiar with the songs, it enabled me to really listen to his lyrics – and I was impressed with what I heard.

According to Eric, he attended Howard University in Washington, D.C., and discovered gogo music (he originally hails from New Jersey).  While there, he would go to McDonald’s and sing his order to “get the ladies.” I can only imagine how many numbers he received.

Vivian returned looking fabulous with her short hair, big gold earrings and a black one-piece jumpsuit. Going back to her debut album, A Love Story, she sang a jazzed up version of Addicted, and ended with Emotional Rollercoaster.

Trading the stage with Vivian, Eric returned with a song about dealing with someone perhaps he shouldn’t have been with.

Having changed clothes, Vivian returned with a funked up version of Wish We Could Go Back, from her Vivian album. She ventured into the audience during Gotta Go, Gotta Leave, and allowed some members to showcase their singing ability.

During Eric’s next set, he asked for audience participation in order to create a song with words provided by the crowd. Sexual chocolate, ambidextrous, whistle, expeditiously, difficult and design turned into a song about a difficult girl.

Vivian concluded the show with another outfit change and renditions of other artist’s songs. When she sang the first notes of Whitney Houston’s Saving All My Love, my mouth dropped open in amazement because she sounded just as good as Whitney did before the “crack is whack” period of her life.

Her performance of Toni Braxton’s Breathe Again, was stellar as well. Toni should be looking over her shoulder because Vivian’s version was better than the one I heard Toni perform in Las Vegas a few years ago.

Watching The Throne in a zone (and from nosebleed seats)

Note: While I know there is controversy on the use of the word “nigga,” I have chosen to write the actual word instead of saying “the n-word” or using hash marks or asterisks in place of the “igga,” as the word “nigga” was what was used throughout the show.

It’s a new year, but I have one more review I wanted to share before we were too deep into 2012.

In 2011, I attended so many great shows – Jill Scott, Anthony Hamiliton and Ledisi (saw all three twice), Eric Roberson, Vivian Green and of course Sade – so it’s only appropriate I would conclude the year witnessing two of hip-hop’s best come together to claim their throne.

I had been highly anticipating this concert as soon as it was announced. Having never seen Kanye, I was excited because I knew he gave his all on stage. This would be my third time seeing Jay Z, so I knew I was in for one hell of a show.

“You are now watching the throne/don’t let me get in my zone.” This simple line from the song Niggas In Paris is a great way to sum up the Watch the Throne tour. Jay Z and Kanye – teacher and student –performed two-plus hours of their hits, and the show was a fabulous reminder of why I paid more than $100 to get in their zone.

I started off in their zone well before the concert – a few weeks to be exact. As a general rule, I do not look at the set list of a show because I love the anticipation of what’s going to be performed. For this tour, however, I couldn’t bring myself to not know.

The reason? I needed to learn the words to as many songs as possible. Turns out, it’s quite challenging memorizing the words of 30-plus songs in a few days. I had every intention on learning a song a day, but life happened and I spent the night before and the day of the concert cramming lyric after lyric in my head.

I eventually gave up and focused on “my” songs, which included Kanye’s Power, Stronger and Good Life, and Jay’s Empire State of Mind, 99 Problems and Dirt Off Your Shoulder.

While I somewhat knew what to expect from the show (a friend of mine told me about her Chicago experience, and I did read a few reviews), hearing and reading about the Watch the Throne tour didn't fully prepare me for what I was to witness the night of Dec. 13, 2011.

From my nosebleed seats (which I was not happy about, but with ticket prices for floor seats double what I paid, I had to settle for what I could afford), I felt the energy coming from the megastars as they were lifted up, in the dark, on separate cubes (with Jay Z in the middle of the arena, while Kanye rose in front of the stage) during the opening of H*A*M. From H*A*M they went into Who Gon Stop Me and three other songs from their Watch the Throne collaboration.

Alone on the stage, Jay Z launched into Nigga What, Nigga Who; afterwards, the lights were literally flashing during Kanye’s Flashing Lights; the Jesus Walks’ performance brought Kanye to his knees, while the diamonds were in the air during Diamonds From Sierra Leone.

Alternating back and forth, they traded the stage and cubes, and flowed from one song to the next with ease. Kanye joined Jay Z during Hard Knock Life and left him during Empire State of Mind.

It was lights, lights and more lights. It was dark at the appropriate times (Kanye’s Runaway performance would have felt different if there wasn't dark). The images shown during various songs (Made In America, No Church in the Wild) gave the songs great visual appeal.

Speaking of lights, my favorite moment occurred when the beat for All of the Lights started and Kanye promptly stopped the song and delivered the following message: “Black people, we are going to give them a pass this one time,” referring to the first line of the song which states, “Something wrong/I hold my head/MJ gone/our nigga dead!”

Between Made in America and New Day, Kanye had a heartfelt moment when he spoke of the difficulties he’s faced the past few years and how he contemplated suicide. He went on to say that he was surrounded by people who brought him back from the ledge. You could tell it was genuine and Kanye was grateful for being alive, despite his many challenges.

I was surprised he performed the radio version of Gold Digger (taking “nigga” out of the chorus). While the majority of the crowd was not black, I found it odd he chose to do this seeing as though he didn’t remove nigga from the rest of the songs he performed.

Having the set list in advance, I knew the encore was Niggas In Paris. I also knew, through reviews and my previously mentioned friend, that the song would be done over and over and over again. According to my friend, they repeated the song eight times in Chicago.

Well, San Jose only had three encores. I could speculate as to why we weren’t privileged to be among those who had encore after encore after encore, but it won't change our encore count.

Jay Z and Kanye succeeded in making the thousands upon thousands throw up the diamond time and time again. They succeeded in keeping me on my feet the entire show, and as I posted on FaceBook, they succeeded in making me go H*A*M (Hard as a muthaf*****) the majority of the evening.

When you have a set list that contains more than 30 songs, you should anticipate leaving the show voiceless and tired. I was still feeling the effects of being in the zone the next day! I couldn’t get that song out of my head!

One more thing: While Jay wore his standard jeans and T-shirt, Kanye wore what appeared to be black leather leggings and kilt, with a T-shirt. It was, to say the least, an interesting get up.

Concert setlist: H*A*M., Who Gon Stop Me, Otis, Welcome to the Jungle, Gotta Have It, Where I'm From, Nigga What? Nigga Who?, Can't Tell Me Nothing, Flashing Lights, Jesus Walks, All Falls Down, Diamonds from Sierra Leone, Public Service Announcement , U Don't Know, Run This Town, Monster, Power, Made in America, New Day, Hard Knock Life, Izzo (H.O.V.A.), Empire State of Mind, Runaway, Heartless, Stronger, On to the Next One, Dirt Off Your Shoulders, I Just Wanna Love You (Give It Me), That’s My Bitch, Good Life, Touch the Sky, All of the Lights, Big Pimpin', Gold Digger, 99 Problems, No Church in the Wild, Lift Off, Niggas in Paris