The Funk, Soul, R&B Thread.

[Memphis Slim]

What the hell happen to Ray?

LOL I told you to brace yourself!!! t:

That new album is pretty nice if you like jazz.

 

[SoulManX]

LOL I told you to brace yourself!!! t:

That new album is pretty nice if you like jazz.

I will pick it up to check it...love Jazz.

 

[SoulManX]

Another Brother who died to soon. Him and Gordy didn't see eye to eye on his music choices. He also create some music that just grabs you.

Best score for a crappy movie.

 

[SoulManX]

Donald Byrd...if u don't know him get to know him. Pick up some of his work.

 

[Armand Z Trip]

Trouble Man is a great soundtrack. Willie Hutch did the soundtracks for The Mack and Foxie Brown, I think his son was in Above the Law.

[FONT=Arial, Helvetica, sans-serif]Willie Hutch grew up in Dallas where he sang with The Ambassadors.[/FONT]​

[FONT=Arial, Helvetica, sans-serif]He was a graduate of Booker T. Washington High School in Dallas.[/FONT]
[FONT=Arial, Helvetica, sans-serif]He first came to the attention of the music business in 1964 when his debut single 'Love Has Put Me Down' was released by the Soul City Records label.[/FONT]
[FONT=Arial, Helvetica, sans-serif]His songs attracted the attention of The Fifth Dimension who recorded a number of them.[/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie himself recorded with Venture prior to two albums in the early 70's with RCA (including 'Let's Try It Over').[/FONT]
[FONT=Arial, Helvetica, sans-serif]In 1970, he received a phone call from producer Hal Davis who urgently needed a song written to a backing track he had entitled 'I'll Be There'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]By 8 am the next morning, The Jackson 5 were in the studio recording it. [/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie later co-arranged vocals on 'Got To Be There' and 'Never Can Say Goodbye' for the group, impressing Berry Gordy who employed him at Motown on a more permanent basis.
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie produced the first Smokey Robinson album without The Miracles, and when Sisters Love had a cameo role in 'The Mack', the group's manager suggested Willie record the soundtrack.[/FONT]
[FONT=Arial, Helvetica, sans-serif]The result was 'The Mack', including 'Brother's Gonna Work It Out' and 'Slick', Willie's first album for Motown in 1973. (Willie also worked with Sisters Love on 'Mr Fix-it Man'.)[/FONT]
[FONT=Arial, Helvetica, sans-serif]His other albums at the label included 'The Mark Of The Beast' (1975); 'Concert In Blues' (1976), including 'Party Down'; 'Color Her Sunshine' (1976), including 'I Like Everything About You', 'Havin' A House Party' and 'Fully Exposed' before he joined the Whitfield label for two albums, 'In Tune (1978), including 'Easy Does It', and 'Midnight Dancer'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]In 1982, he wrote 'Keep The Fire Burning' for Gwen McCrae and returned to Motown for three collaborations with Berry Gordy.[/FONT]
[FONT=Arial, Helvetica, sans-serif]The first was a duet for The Four Tops and Aretha Franklin 'What Have We Got To Lose' (1983), the second a song / production for Sammy Davis Jnr, 'Hello Detroit' (1984), and the third a soundtrack album for Berry's film 'The Last Dragon' (1985).[/FONT]
[FONT=Arial, Helvetica, sans-serif]This soundtrack included a Willie Hutch single 'The Glow'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]During this period at Motown he wrote/produced 'Sexy Ways' for The Four Tops and released two albums, 'In And Out' (1985) and 'Making A Game Of Love' (1985), including 'Keep On Jammin'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie has also written and / or produced for The Miracles, The Main Ingredient ('California My Way'), Junior Walker, Diana Ross and Marvin Gaye, among others.[/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie released two albums in the Nineties. 'From The Heart' and 'The Mack Is Back'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]Both sets were well received.[/FONT]
Willie Hutch, sadly passed away on the 19th of September 2005. He was 60.

[FONT=Arial, Helvetica, sans-serif]Soul Portrait (RCA 1969)​

[FONT=Arial, Helvetica, sans-serif]Seasons For Love (RCA 1970)[/FONT]
[FONT=Arial, Helvetica, sans-serif]The Mack (Motown 1973)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Fully Exposed (Motown 1973)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Foxy Brown (Motown 1975)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Mark of the Beast (Motown 1975)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Ode to My Lady (Motown 1975)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Concert in Blues [live] (Motown 1976)[/FONT]
[FONT=Arial, Helvetica, sans-serif]Colour Her Sunshine (Motown 1976)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Havin' a House Party (Motown 1977)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]In Tune (Whitfield 1979)[/FONT]
[FONT=Arial, Helvetica, sans-serif]Midnight Dancer (Whitfield 1980)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]In & Out (Motown 1983)[/FONT]
[FONT=Arial, Helvetica, sans-serif]Making A Game Of Love (Motown 1985)[/FONT][FONT=Arial, Helvetica, sans-serif]
[/FONT]
[FONT=Arial, Helvetica, sans-serif]From the Heart (GGIT 1994)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]The Mack is Back (Midwest 1996)[/FONT]
[FONT=Arial, Helvetica, sans-serif]Sexalicious (Midwest 2002)[/FONT]
​

[/FONT]

 

[SoulManX]

EVELYN "CHAMPAGNE" KING

Love Come Down is still one of my grooves

 

[Memphis Slim]

I will pick it up to check it...love Jazz.

Some nice cuts on it. My wife bought it.

 

[Memphis Slim]

Donald Byrd...if u don't know him get to know him. Pick up some of his work.

Unfinished Business!!! Remember that cut?? "Walking in Rhythmn"???

 

[SoulManX]

Trouble Man is a great soundtrack. Willie Hutch did the soundtracks for The Mack and Foxie Brown, I think his son was in Above the Law.

[FONT=Arial, Helvetica, sans-serif]Willie Hutch grew up in Dallas where he sang with The Ambassadors.[/FONT]​

[FONT=Arial, Helvetica, sans-serif]He was a graduate of Booker T. Washington High School in Dallas.[/FONT]
[FONT=Arial, Helvetica, sans-serif]He first came to the attention of the music business in 1964 when his debut single 'Love Has Put Me Down' was released by the Soul City Records label.[/FONT]
[FONT=Arial, Helvetica, sans-serif]His songs attracted the attention of The Fifth Dimension who recorded a number of them.[/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie himself recorded with Venture prior to two albums in the early 70's with RCA (including 'Let's Try It Over').[/FONT]
[FONT=Arial, Helvetica, sans-serif]In 1970, he received a phone call from producer Hal Davis who urgently needed a song written to a backing track he had entitled 'I'll Be There'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]By 8 am the next morning, The Jackson 5 were in the studio recording it. [/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie later co-arranged vocals on 'Got To Be There' and 'Never Can Say Goodbye' for the group, impressing Berry Gordy who employed him at Motown on a more permanent basis.
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie produced the first Smokey Robinson album without The Miracles, and when Sisters Love had a cameo role in 'The Mack', the group's manager suggested Willie record the soundtrack.[/FONT]
[FONT=Arial, Helvetica, sans-serif]The result was 'The Mack', including 'Brother's Gonna Work It Out' and 'Slick', Willie's first album for Motown in 1973. (Willie also worked with Sisters Love on 'Mr Fix-it Man'.)[/FONT]
[FONT=Arial, Helvetica, sans-serif]His other albums at the label included 'The Mark Of The Beast' (1975); 'Concert In Blues' (1976), including 'Party Down'; 'Color Her Sunshine' (1976), including 'I Like Everything About You', 'Havin' A House Party' and 'Fully Exposed' before he joined the Whitfield label for two albums, 'In Tune (1978), including 'Easy Does It', and 'Midnight Dancer'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]In 1982, he wrote 'Keep The Fire Burning' for Gwen McCrae and returned to Motown for three collaborations with Berry Gordy.[/FONT]
[FONT=Arial, Helvetica, sans-serif]The first was a duet for The Four Tops and Aretha Franklin 'What Have We Got To Lose' (1983), the second a song / production for Sammy Davis Jnr, 'Hello Detroit' (1984), and the third a soundtrack album for Berry's film 'The Last Dragon' (1985).[/FONT]
[FONT=Arial, Helvetica, sans-serif]This soundtrack included a Willie Hutch single 'The Glow'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]During this period at Motown he wrote/produced 'Sexy Ways' for The Four Tops and released two albums, 'In And Out' (1985) and 'Making A Game Of Love' (1985), including 'Keep On Jammin'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie has also written and / or produced for The Miracles, The Main Ingredient ('California My Way'), Junior Walker, Diana Ross and Marvin Gaye, among others.[/FONT]
[FONT=Arial, Helvetica, sans-serif]Willie released two albums in the Nineties. 'From The Heart' and 'The Mack Is Back'.[/FONT]
[FONT=Arial, Helvetica, sans-serif]Both sets were well received.[/FONT]
Willie Hutch, sadly passed away on the 19th of September 2005. He was 60.

[FONT=Arial, Helvetica, sans-serif]Soul Portrait (RCA 1969)​

[FONT=Arial, Helvetica, sans-serif]Seasons For Love (RCA 1970)[/FONT]
[FONT=Arial, Helvetica, sans-serif]The Mack (Motown 1973)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Fully Exposed (Motown 1973)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Foxy Brown (Motown 1975)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Mark of the Beast (Motown 1975)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Ode to My Lady (Motown 1975)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Concert in Blues [live] (Motown 1976)[/FONT]
[FONT=Arial, Helvetica, sans-serif]Colour Her Sunshine (Motown 1976)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]Havin' a House Party (Motown 1977)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]In Tune (Whitfield 1979)[/FONT]
[FONT=Arial, Helvetica, sans-serif]Midnight Dancer (Whitfield 1980)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]In & Out (Motown 1983)[/FONT]
[FONT=Arial, Helvetica, sans-serif]Making A Game Of Love (Motown 1985)[/FONT][FONT=Arial, Helvetica, sans-serif]
[/FONT]
[FONT=Arial, Helvetica, sans-serif]From the Heart (GGIT 1994)
[/FONT]
[FONT=Arial, Helvetica, sans-serif]The Mack is Back (Midwest 1996)[/FONT]
[FONT=Arial, Helvetica, sans-serif]Sexalicious (Midwest 2002)[/FONT]
​

[/FONT]

Yea Will will be missed I love the music from Foxie Brown .Thank for the bit of history.
PS I love "The Glow" from the Last Dragon

 

[SoulManX]

Unfinished Business!!! Remember that cut?? "Walking in Rhythmn"???

How can I not...but my favorites are Change(Make you want to hustle) and Harlem River Drive.

 

[Memphis Slim]

Four pages and we having mentioned this dude.

 

[SoulManX]

I see beside Silm, Warhammer, GunBlade, and Armand not to many posters on this thread. It's a shame...

Now back to the show...since Im from Philly time to showcase some Brotherly Love.

Hall and Oates...damn that boy could sing.

Favorites "She's Gone" and "I can't go for that"

 

[SoulManX]

Four pages and we having mentioned this dude.

Luther is Moses on the mountain...I have not forgot about Mr. "Never To Much".

 

[SoulManX]

[FONT=Georgia, Times New Roman, Times, serif]Since 1963, the songwriting and producing team of Gamble and Huff has earned 175 gold and platinum records, defining an entire category of Black popular music known as "The Sound of Philadelphia," and dominating the pop and R&B charts for twenty years, while writing or co-writing over 3,000 songs. [/FONT]
[FONT=Georgia, Times New Roman, Times, serif]Kenneth Gamble and Leon Huff were awarded the prestigious Grammy Trustees Award -- an award reserved for such musical visionaries as the Beatles, Berry Gordy and Frank Sinatra -- from the National Academy of Recording Arts and Sciences in 1999; they were inducted into the National Academy of Popular Music Songwriters Hall of Fame in 1995. [/FONT]
[FONT=Georgia, Times New Roman, Times, serif]With such performers as Harold Melvin and the Blue Notes, Teddy Pendergrass, the O'Jays, the Intruders, Lou Rawls, the Jacksons, Billy Paul, Gene McFadden and John Whitehead, and many others, Gamble and Huff produced such classic anthems as "Wake Up, Everybody," "I'll Always Love My Mama," "Family Reunion" and "For the Love of Money." [/FONT]
[FONT=Georgia, Times New Roman, Times, serif]In interviews filmed on location in the Philadelphia International Records studio (where the above hits were recorded), Mr. Gamble and Mr. Huff talk about their artistic collaborations and style, marking a period of musical history now known as the "Golden Age" of Black Soul Music with a Message. [/FONT]
[FONT=Georgia, Times New Roman, Times, serif]Also included in BrotherMen is footage of Mr. Gamble on location in the South Philadelphia community where he was raised and returned in the 1980s with his wife and children to live. Mr. Gamble's commitment to the development of the community through his Universal Companies includes, among many projects, a charter school, a job training center and the renovation of over 100 houses for low-income families in the neighborhood.[/FONT]


[FONT=Georgia, Times New Roman, Times, serif]

[/FONT]

 

[Memphis Slim]

I see beside Silm, Warhammer, GunBlade, and Armand not to many posters on this thread. It's a shame...

Now back to the show...since Im from Philly time to showcase some Brotherly Love.

Hall and Oates...damn that boy could sing.

Favorites "She's Gone" and "I can't go for that"

John needs his mustache back! LOL I've their anthology!! I knew a lot of white guys that didn't like them.

 

[Memphis Slim]

[FONT=Georgia, Times New Roman, Times, serif]Since 1963, the songwriting and producing team of Gamble and Huff has earned 175 gold and platinum records, defining an entire category of Black popular music known as "The Sound of Philadelphia," and dominating the pop and R&B charts for twenty years, while writing or co-writing over 3,000 songs. [/FONT]
[FONT=Georgia, Times New Roman, Times, serif]Kenneth Gamble and Leon Huff were awarded the prestigious Grammy Trustees Award -- an award reserved for such musical visionaries as the Beatles, Berry Gordy and Frank Sinatra -- from the National Academy of Recording Arts and Sciences in 1999; they were inducted into the National Academy of Popular Music Songwriters Hall of Fame in 1995. [/FONT]
[FONT=Georgia, Times New Roman, Times, serif]With such performers as Harold Melvin and the Blue Notes, Teddy Pendergrass, the O'Jays, the Intruders, Lou Rawls, the Jacksons, Billy Paul, Gene McFadden and John Whitehead, and many others, Gamble and Huff produced such classic anthems as "Wake Up, Everybody," "I'll Always Love My Mama," "Family Reunion" and "For the Love of Money." [/FONT]
[FONT=Georgia, Times New Roman, Times, serif]In interviews filmed on location in the Philadelphia International Records studio (where the above hits were recorded), Mr. Gamble and Mr. Huff talk about their artistic collaborations and style, marking a period of musical history now known as the "Golden Age" of Black Soul Music with a Message. [/FONT]
[FONT=Georgia, Times New Roman, Times, serif]Also included in BrotherMen is footage of Mr. Gamble on location in the South Philadelphia community where he was raised and returned in the 1980s with his wife and children to live. Mr. Gamble's commitment to the development of the community through his Universal Companies includes, among many projects, a charter school, a job training center and the renovation of over 100 houses for low-income families in the neighborhood.[/FONT]


[FONT=Georgia, Times New Roman, Times, serif]

[/FONT]

\

Now all we're stuck with is Usher and "Sexyback".

 

[Memphis Slim]

YOU HAD MOTOWN & PHILLY. BUT SOME DOWNHOME FUNK AND SOUL CAME OUTTA MEMPHIS AT STAX RECORDS.


The story of Stax Records is one of a cultural phenomenon that changed the culture of music forever - locally, nationally, and internationally. The success of Stax was perhaps, as Steve Cropper has said, "an accident. Many factors were involved with the success of Stax."
What began as a tiny record store in an old movie theater at the corner of McLemore Avenue and College Street in Memphis, Tennessee, grew to become one of the most important music recording studios in the world. When the modest Capitol Theater in the heart of Soulsville USA was transformed into Stax Records in 1959, it began launching the careers of unknowns who would become icons, cranking out a massive catalog of smash soul hits by the likes of Isaac Hayes, Otis Redding, the Staple Singers, Wilson Pickett, Luther Ingram, Albert King, the Bar-Kays, Booker T. & the MG's, Johnnie Taylor, Rufus and Carla Thomas, and dozens of other artists whose influence remains vital in the music of today. On its many and varied labels, Stax Records also recorded such legends as Big Star, Rev. Jesse Jackson, Bill Cosby, Moms Mabley, and the Grammy-winning comedic genius Richard Pryor.
Today, the Stax Museum of American Soul Music, located at the original site of Stax Records, pays tribute to all of the artists who recorded there with a rare and amazing collection of more than 2,000 interactive exhibits, films, artifacts, items of memorabilia, and galleries designed to keep Stax alive forever. Because it is the only soul music museum in the world, it also spotlights America's other major soul music pioneers, including the sounds of Muscle Shoals, Motown, Hi, and Atlantic Records, spotlighting the contributions of such soul pioneers as Ike & Tina Turner, Aretha Franklin, The Jackson Five, Ann Peebles, Al Green, Sam Cooke, James Brown, Ray Charles, and many others.

 

[Armand Z Trip]

I see beside Silm, Warhammer, GunBlade, and Armand not to many posters on this thread. It's a shame...

Now back to the show...since Im from Philly time to showcase some Brotherly Love.

Hall and Oates...damn that boy could sing.

Favorites "She's Gone" and "I can't go for that"

Hall and Oates were great, I remember their record Big Bam Boom, it had Out of Touch, Method of Modern Love, Some Things (are better left unsaid), Goin' through the Motions and All American Girl. Their album Live at the Apollo (featuring Eddie Kendrick and David Ruffin) is sadly out of print.

 

[SoulManX]

John needs his mustache back! LOL I've their anthology!! I knew a lot of white guys that didn't like them.

Hmmm that is kinda odd.

 

[SoulManX]

Hall and Oates were great, I remember their record Big Bam Boom, it had Out of Touch, Method of Modern Love, Some Things (are better left unsaid), Goin' through the Motions and All American Girl. Their album Live at the Apollo (featuring Eddie Kendrick and David Ruffin) is sadly out of print.

 

[SoulManX]

YOU HAD MOTOWN & PHILLY. BUT SOME DOWNHOME FUNK AND SOUL CAME OUTTA MEMPHIS AT STAX RECORDS.


The story of Stax Records is one of a cultural phenomenon that changed the culture of music forever - locally, nationally, and internationally. The success of Stax was perhaps, as Steve Cropper has said, "an accident. Many factors were involved with the success of Stax."
What began as a tiny record store in an old movie theater at the corner of McLemore Avenue and College Street in Memphis, Tennessee, grew to become one of the most important music recording studios in the world. When the modest Capitol Theater in the heart of Soulsville USA was transformed into Stax Records in 1959, it began launching the careers of unknowns who would become icons, cranking out a massive catalog of smash soul hits by the likes of Isaac Hayes, Otis Redding, the Staple Singers, Wilson Pickett, Luther Ingram, Albert King, the Bar-Kays, Booker T. & the MG's, Johnnie Taylor, Rufus and Carla Thomas, and dozens of other artists whose influence remains vital in the music of today. On its many and varied labels, Stax Records also recorded such legends as Big Star, Rev. Jesse Jackson, Bill Cosby, Moms Mabley, and the Grammy-winning comedic genius Richard Pryor.
Today, the Stax Museum of American Soul Music, located at the original site of Stax Records, pays tribute to all of the artists who recorded there with a rare and amazing collection of more than 2,000 interactive exhibits, films, artifacts, items of memorabilia, and galleries designed to keep Stax alive forever. Because it is the only soul music museum in the world, it also spotlights America's other major soul music pioneers, including the sounds of Muscle Shoals, Motown, Hi, and Atlantic Records, spotlighting the contributions of such soul pioneers as Ike & Tina Turner, Aretha Franklin, The Jackson Five, Ann Peebles, Al Green, Sam Cooke, James Brown, Ray Charles, and many others.

Oh Stax is very important to the Soul movement...bad part is Justin Timberlake wants to own the name.

 

[SoulManX]

Sam Cook

Another legend lost...my favorite song by him is "A Change Gonna Come". Also played when Malcolm is going to his speech in Spike Lee's Malcolm X.

 

[SoulManX]

Early life

Despite being blinded as a child, he developed a distinctive guitar style that complemented his earthy delivery, and was just as comfortable on keyboards, writing songs, or arranging sessions. Carter attended the Alabama School for the Blind at Talladega (the same school that produced the Blind Boys of Alabama gospel group. He got his first guitar at age 11 and learned how to play by listening to the records of John Lee Hooker, Lightnin' Hopkins, and Jimmy Reed.
Even though he was blind he attended Alabama State College in Montgomery, where in 1960 he graduated with a BS Degree in music.[1]

Career

Unlike most of his peers in Southern soul, Carter's musical approach harkened directly back to acoustic country blues. He was the final link in a long chain of blind blues singer-guitarists, a descendant of Blind Lemon Jefferson, Blind Willie McTell, and Blind Willie Johnson, among others. In Carter's case, love, particularly cheating love, became the great spiritual metaphor. More than any of his guitar-playing predecessors (but not unlike that more contemporary Ray Charles), Carter possessed an expansive sense of humor, embodied in the lewd guttural chuckle that punctuates many of his best records.

Sixties

Carter's earliest releases were as half of the duo Clarence And Calvin. Also known as the "C And C Boys", the blind duo made 7 singles, starting in the early 1960s, the last of which was recorded at Fame's Muscle Shoals studio.[2]
When his partner, Calvin Thomas (aka Scott), suffered serious injuries in a car accident in 1966, Carter became a solo act. Calvin himself later reappeared as a solo act to record two Dave Crawford-produced Atco Records singles in 1969/70 and a Clarence Paul-produced 1971 album for Stax Records, I'm Not Blind ... I Just Can't See, from which two singles were also taken. "Tell Daddy", released in January 1967, began a fruitful spell of Fame-produced hits by Carter, released on the Atlantic Records label. Noteworthy were "Thread The Needle," "Looking For A Fox," and "Slip Away", where the singer combined his outstanding voice with his skill as an arranger and musician.[3]

Seventies

"Patches", first recorded by Chairmen of the Board, was a UK number 2 and a US number 4 in 1970, but despite further strong offerings, Clarence was unable to sustain the momentum. He remained with Fame until 1973, where he also helped guide Candi Staton, who was now his wife, before moving to ABC Records the subsequent year.

Eighties

Further recordings on Venture and Big C took Carter's career into the 1980s, and later the artist found a sympathetic outlet with the Ichiban Records label.
Clarence returned in the late Eighties with the album Dr. C.C., which spawned the bawdy, comedic single "Strokin'," which has evolved into a favorite at clubs and weddings. He later followed it up with a sequel, "Still Strokin'," in 1989.[4]

 

[SoulManX]

\

Now all we're stuck with is Usher and "Sexyback".

 

[Son Of Logan]

Nice piece of trivia...

Yeah...Jimi gave Ernie a lot of inspiration. All this info is from the liner notes of the Isley Brothers:It's Your Thing 3-Disc set.