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Urban Funk
08/15/2013
Marvin Gaye

Story

"Inner City Blues (Make Me Wanna Holler)", often shortened to "Inner City Blues", is a song by Marvin Gaye, released as the third and final single from and the climactic song of his 1971 landmark album, What's Going On. Written by Gaye and James Nyx, the song depicted the ghettos of inner-city America as it discussed how the bleak economic situation would lead to someone wanting to holler and throw ones hands up. The song was recorded in a mellow funk style with Gaye playing piano. Several of the Funk Brothers also contributed, including Eddie "Bongo" Brown, and bassist Bob Babbitt.

The song helped Gaye make history by being one of the few artists to have three or more Top 10 songs off Billboard's Pop Singles chart peaking at #9 and one of the first to have three consecutive #1 hits on Billboard's R&B Singles chart where it stayed for two weeks.[1] Although not certified by the RIAA at that time, all three releases from the What's Going On album gained Gold status by selling over 1,000,000 copies in the United States.

In its unedited version as it appears on the album, the final minute of the song (and of the LP) is a reprise to the theme of "What's Going On", the album's first song, then segues into a dark ending. This final minute was cut off of the single version, as well as other sections of the song so the single edit runs under three minutes--this edit appears on subsequent reissues of the LP.

 

Cover Versions

The song was first covered by Grover Washington, Jr. in 1972 from the album named "Inner City Blues."[4] Also in 1972, on her album A Time In My Life, Sarah Vaughan covered "Inner City Blues" with David Axelrod on the drums. The same year the song was recorded by The Chi-Lites on the album A Lonely Man, and by The Impressions for their album Times Have Changed. Christian alternative band Adam Again did a soulful rendition of the song on 1990's Homeboys. In 1993, guitarist Larry Coryell covered the song from his album "Fallen Angel."[5][6] In 1994, Angela Winbush covered the song and released it as a single and abbreviated the name simply to "Inner City Blues". 1996 saw R&B group Ideal release a cover of the song on the Original Gangstas soundtrack. In 1998, the Mayfield Four released a cover of "Inner City Blues (Make Me Wanna Holler)" under its original title on their debut album Fallout. The Dirty Dozen Brass Band also did a cover of this song on their album, What's Goin' On (2006) (Shout Factory). It was also covered by Joe Cocker on his album titled "Cocker".

Etta James covered her for her 1998 album Life, Love & the Blues.

It was also covered by the hard-rock band Sevendust in 2003, and can be found on the DVD included with some versions of their album Seasons, and then was included on their compilation album Best of (Chapter One 1997-2004) which was released in late 2005. In 2004, John Mayer performed the song live and later released on his compilation live album As/Is. The version includes a turntable solo by New York jazz turntable player DJ Logic.

In 1997 the Grover Washington Jr. version was re-released on the compilation Funky Jazz Classics & Original Breaks from the Tough Side, the first of the Pulp Fusion series. In 2007 the Sarah Vaughan cover was also re-released on the compilation Bustin' Loose, the tenth of the Pulp Fusion series.

The original version of the song also was used in the soundtrack of the 2007 film Zodiac, directed by David Fincher.

Lyrics

 Send "Inner City Blues (Make Me Wanna Holler)" Ringtone to your Cell Inner City Blues (Make Me Wanna Holler) Ringtone "Inner City Blues (Make Me Wanna Holler)"

Dah, dah, dah, dah
dah, dah, dah, dah, dah, dah, dah
Dah, dah, dah, dah
Dah, dah, dah, dah, dah, dah, dah
Dah, dah, dah
Rockets, moon shots
Spend it on the have nots
Money, we make it
Fore we see it you take it
Oh, make you wanna holler
The way they do my life
Make me wanna holler
The way they do my life
This ain't livin', This ain't livin'
No, no baby, this ain't livin'
No, no, no
Inflation no chance
To increase finance
Bills pile up sky high
Send that boy off to die
Make me wanna holler
The way they do my life
Make me wanna holler
The way they do my life
Dah, dah, dah
Dah, dah, dah
Hang ups, let downs
Bad breaks, set backs
Natural fact is
I can't pay my taxes
Oh, make me wanna holler
And throw up both my hands
Yea, it makes me wanna holler
And throw up both my hands
Crime is increasing
Trigger happy policing
Panic is spreading
God know where we're heading
Oh, make me wanna holler
They don't understand
Dah, dah, dah
Dah, dah, dah
Dah, dah, dah

Mother, mother
Everybody thinks we're wrong
Who are they to judge us
Simply cause we wear our hair long
Urban Funk
08/15/2013
Bill Withers

Story

"Use Me" is a song composed and originally recorded by Bill Withers, and was included on his 1972 album Still Bill. It is his second-biggest hit in the United States, released in September 1972, and later reaching No. 2 on the Billboard Hot 100 chart.[1] The song was certified Gold by the RIAA.[

 

Content

The singer complains about the advice of friends, who seem to have made it "their appointed duty" to talk the singer out of a romantic relationship that they see as one-sided, and where the singer is "used". But the singer has no doubt in wanting things to continue as they are, and implies that it is pleasurable enough to be "used" in that fashion that being "used up" completely would be welcome.

The singer goes on to describe telling a relative who urges resistance to being "walked on," that envy for the singer's circumstances would follow from really comprehending them.

The singer admits that some of the lover's behavior is abusive—for example, snubbing him when those of higher status, with whom the lover apparently seeks to curry favor, are present—but "when you love me", the singer "can't get enough".

Finally, as the song fades out, the singer admits to being used, but says that "it aint too bad the way you're using me, 'cause I sure am using you to do the things you do."

Use in popular culture[edit source | edit]

Lyrics

"Use Me"

'My friends feel it's their appointed duty
They keep trying to tell me
All you want to do is use me
But my answer, yeah to all that use me stuff
I want to spread the news
That if it feels this good getting used
You just keep on using me
Until you use me up
Until you use me up

My brother sit me right down and he talked to me
He told me that I ought not to let you just walk on me
And I'm sure he meant well
Yeah, but when our talk was through
I said, brother, if you only knew
You'd wish that you were in my shoes
You just keep on using me
Until you use me up
Until you use me up

Sometimes, it's true
You really do abuse me
You get me in a crowd of high-class people
And then you act real rude to me
But, oh baby, baby, baby, baby,
When you love me, I can't get enough
I want to spread the news
That if it feels this good getting used
Girl, you just keep on using me
Until you use me up
Until you use me up
Talkin' 'bout you usin' people
It all depends on what you do
It ain't too bad the way you're usin' me
'Cause I sure am usin' you to do the things you do'
to do the things you do



Urban Funk
08/15/2013
Dennis Wilson, Billy Preston, and Bruce Fisher

Story

You Are So Beautiful" is a song written by Dennis Wilson, Billy Preston, and Bruce Fisher. It was first recorded by Preston and made popular by Joe Cocker.

Preston's original version first appeared on his 1974 album The Kids & Me. Cocker's producer, Jim Price, created a slowed-down arrangement for Cocker's version, which first appeared on the album, I Can Stand a Little Rain (released later in 1974). Released as a single, the Joe Cocker version reached number five on the Billboard Hot 100 singles chart in 1975 and helped the album become a hit.

According to biographer Jon Stebbins, Wilson claimed that he and Preston spontaneously collaborated on the words and music to the song at a party.[1] Wilson sang the song as an encore at Beach Boys shows intermittently from 1975 until his death in 1983.

Lyrics

Songwriters: BOHLEN, DIETER / MASON, BARRY (GB)
You are so beautiful to me
You are so beautiful to me
Can't you see
Your everything I hoped for
Your everything I need
You are so beautiful to me

Such joy and happiness you bring
Such joy and happiness you bring
Like a dream
A guiding light that shines in the night
Heavens gift to me
You are so beautiful to me
Urban Funk
08/15/2013
Stevie Wonder

Story

"Superstition" is a popular song written, produced, arranged, and performed by Stevie Wonder for Motown Records in 1972, when Wonder was 22 years old. It was the lead single for Wonder's Talking Book album,[1] and released in many countries. It reached number one in the USA,[2] and number one on the soul singles chart.[3] Overseas, it peaked at number eleven in the UK during February 1973. In November 2004, Rolling Stone ranked the song at #74 on their list of the 500 Greatest Songs of All Time. The song deals with superstitions,[2] and mentions several popular superstitious fables in its lyrics.

Background

Jeff Beck created the original drum beat while in the studio with Wonder. After writing the song, Wonder offered it to Beck to record, but at the insistence of Berry Gordy, Wonder himself recorded it first.[4] Beck was instead offered "Cause We've Ended As Lovers", which he recorded on Blow by Blow in 1975. Jeff Beck played guitar on the Talking Book album track "Lookin' For Another Pure Love" and later recorded his own version of "Superstition" as a part of Beck, Bogert & Appice.

Wonder's music had been undergoing a marked change from his earlier fit with the Motown Sound to a more personal style. This shift had been evident on his two prior albums, Where I'm Coming From and Music of My Mind, but it was Talking Book and "Superstition" that brought the new style to the awareness of the public in general.

The song's opening drum beat was performed by Wonder on the kit that Scott Mathews provided at the Record Plant in Hollywood. Its iconic funky clavinet riff played on a Hohner Clavinet C was also played by Wonder. The song also features trumpet and saxophone, played respectively by Steve Madaio and Trevor Laurence.

To this day, Wonder regularly performs this song at his concerts, and even plays an actual clavinet onstage, the Hohner Clavinet D6

Lyrics

Very superstitious, writing's on the wall,
Very superstitious, ladders bout' to fall,
Thirteen month old baby, broke the lookin' glass
Seven years of bad luck, the good things in your past.

oo When you believe in things that you don't understand,
Then you suffer,
Superstition ain't the way

Very superstitious, wash your face and hands,
Rid me of the problem, do all that you can,
Keep me in a daydream, keep me goin' strong,
You don't wanna save me, sad is my song.

When you believe in things that you don't understand,
Then you suffer,
Superstition ain't the way, yeh, yeh.

Very superstitious, nothin' more to say,
Very superstitious, the devil's on his way,
Thirteen month old baby, broke the lookin' glass,
Seven years of bad luck, good things in your past

When you believe in things that you don't understand,
Then you suffer,
Superstition ain't the way, no, no, no
shut up!

Urban Funk
08/15/2013
Jim Peterik

Story

Vehicle is the debut studio album by The Ides of March, released in 1970. The single and title of the album, "Vehicle", became the fastest selling single in Warner's history.

Lyrics

Hey well
I'm a friendly stranger in a black sedan
Won't you hop inside my car.
I got pictures, got candy
I'm a loveable man
And I can take you to the nearest star.
I'm your vehicle baby
I'll take you anywhere you wanna go.
I'm your vehicle woman
But I'm not sure you know
That I love ya
I need ya
I want ya,
Got to have you child,
Great God in heaven you know I love you.
Well if you want to be a movie star
I'll get a ticket to Hollywood.
But if you want to stayjust the way you are
You know I think you really should.
I'm your vehicle baby
I'll take you anywhere you wanna go.
I'm your vehicle woman
But I'm not sure you know
That I love ya
I need ya
I want ya,
Got to have you child,
Great God in heaven you know I love you.
Hey well
I'm a friendly stranger in a black sedan
Won't you hop inside my car.
I got pictures, got candy
I'm a loveable man
And I can take you to the nearest star.
I'm your vehicle baby
I'll take you anywhere you wanna go.
I'm your vehicle woman
But I'm not sure you know
That I love ya
I need ya
I want ya,
Got to have you child,
Great God in heaven you know I love you.
And I'm your vehicle babe.
You know
I love ya
I need ya
I want ya,
Got to have you child,

Urban Funk
08/15/2013
Mike Sharpe (Shapiro), and Harry Middlebrooks, Jr

Story

"Spooky" was originally an instrumental song performed by saxophonist Mike Sharpe (Shapiro), written by Shapiro and Harry Middlebrooks, Jr.,[1] which first charted in 1967 hitting #57 on the US pop charts. [2] Its best known version was created by The Classics IV when guitarist James Cobb and producer Buddy Buie added lyrics centering on a "spooky little girl".[3] In 1968, the vocal version of the song reached #3 in the U.S. (Billboard Hot 100) and #46 in the UK.[4]

Cobb (along with bandmates Robert Nix and Dean Daughtry) later became part of the Atlanta Rhythm Section and re-recorded "Spooky" in 1979. ARS's version hit #17 in the US and #48 in the UK.[5]

"Spooky" has also been covered by a number of artists including Dusty Springfield (whose version was featured prominently in the Guy Ritchie film Lock, Stock and Two Smoking Barrels), Andy Williams, Martha and the Vandellas, Michel Pagliaro (recorded song in French), Velvet Monkeys, Daniel Ash, Lydia Lunch, R.E.M., The Jazz Butcher, Joan Osborne, GoldieLocks, Imogen Heap, David Sanborn,[6][7] The Golden Cups, The Puppini Sisters, Atlanta Rhythm Section, Marc Antoine, The Boris Gardiner Happening, Element of Crime, Phish[8][9] and The Lettermen.

The song's main riff is sampled in the song "Why's Everbody Always Pickin' On Me?" by Bloodhound Gang, released in 1996

Lyrics

 In the cool of the evening
When everything is gettin kind of groovy
I call you up and ask you if you
Would you like to go with me and see a movie
First you say no, you've got some plans for the night
And then you stop, and say, all right
Love is kinda crazy with a spooky little girl like you

You always keep me guessin
I never seem to know what you are thinkin
And if a fella looks at you
It's for sure your little eye will be a-winkin
I get confused, cause I don't know where I stand
And then you smile, and hold my hand
Love is kinda crazy with a spooky little girl like you
Spooky
Spooky

If you decide someday to stop this little game that you are playin
I'm gonna tell you all what my heart's been a-dyin to be sayin
Just like a ghost, you've been a-hauntin my dreams
So I'll propose on Halloween
Love is kinda crazy with a spooky little girl like you

Spooky, spooky, oh whoa, all right
Spooky, oh yea yea
I said Spooky yea yea
Lyrics from <a href="http://www.elyrics.net">eLyrics.net</a>

Urban Funk
08/16/2013
GALLAGHER, JULIAN / BREEN, RICHARD / BROWN, JASON / CONLON, SEAN / STANARD, RICHARD(BIFF)

Story

"I Got the Feelin'" is a funk song by James Brown. Released as a single in 1968, it reached #1 on the R&B chart and #6 on the pop chart.[1] It also appeared on a 1968 album of the same name.[2]

The Jackson 5 auditioned for Motown founder Berry Gordy in 1968 with a filmed performance of "I Got the Feelin'", with the ten-year-old Michael Jackson closely mimicking Brown's vocal style and dance moves.[3]

In 1986, the song was prominently featured in the third-season episode of The Cosby Show entitled "Golden Anniversary", with most of the cast performing a lip-synch routine led by a 16-year-old Malcolm-Jamal Warner.

A version of the song is featured in the musical Fela!.

Lyrics

I got the feeling
Baby, baby
I got the feeling

You don't know what you do to me
People are heavy, down in misery
Hey, yeah, alright
Hey, hey, good Lord

I got the feeling, alright

Baby, baby, baby
Baby, baby, baby
Baby, baby, baby
Baby, baby

I got the feeling, baby
Baby, sometimes I'm up
Sometimes I'm down
My heart, I'm around the town

I'm level with the ground, baby
I said level with the ground
Well, baby, you treat me bad

No, no, I know no, you don't mean it now
Sometimes, I roam
But I'll be coming back home
Sometimes, I seem to be fly
I just don't know when to say bye bye

Hey baby, baby
I got that feeling, baby
I have it, alright

Baby, baby, baby
Baby, baby, baby
Baby, baby, baby
Baby, baby

Come on now
Come on now
Oh, oh, oh, oh



Urban Funk
08/16/2013
Papa Dee Allen, Harold Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, Howard E. Scott

Story

"Slipping Into Darkness", backed with "Nappy Head", was War's first big hit since their name change from Eric Burdon and War. (The spelling was changed slightly to "Slippin' Into Darkness" for the single, and is also used on a CD edition of the album.)[3][4] An earlier single was "All Day Music" backed with "Get Down".[4] A subtitle for "Nappy Head" claims it is the theme from Ghetto Man, but there does not appear to be any notable film or television series with this title, and it may refer to a series that never went into production. "Baby Brother" is a live track recorded at the Hollywood Bowl, June 30, 1971, at an event called the United Artists 99 Cent Spectacular; a studio version of this song retitled "Me and Baby Brother" appeared on a later album, Deliver the Word (1973).

 

"Spill the Wine" is a 1970 song performed by Eric Burdon and War. Released as a single in May 1970 (backed by the non-album track "Magic Mountain"), it was War's first chart hit, peaking at number three in the US.[1] It was also a top three hit in Canada[2] and Australia.[citation needed] It charted #15 in Netherlands[3] and #28 in Germany.[citation needed]

In 1996, it was remixed by Junior Vasquez and released as a single again.

Lonnie Jordan said in an 2008 interview that Eric Burdon is the first Latin rapper in pop music.[4]

In the introduction to the live version of the song on Greatest Hits Live, Lonnie Jordan reveals that the inspiration for the song was a time when he spilled a glass of wine on a mixing board in the recording studio. Eric Burdon found the event funny, so he and Jordan used it as the inspiration for the song.

Lyrics

Slippin Into Darkness

- ah ah ah, well, well, well, well, well, well, well.
I was slippin' into darkness
When they took my friend away
I was slippin' into darkness
When they took, when they took my friend away
You know he loved to drink whiskey
Oh oh oh oh
While laughing at the moon.
Slippin' into darkness
Takes my mind beyond the trees
I was slippin' into darkness, yeah
Takes my mind beyond the trees
Well, i talked to my brothers
Oh oh oh oh
Who never said their names.
Slippn' into darkness, yeah
All my troubles though i choose
I was slippin' into darkness, yeah
All my troubles though i choose
I got a wife and a baby, yeah, yeah
Oh oh oh oh
Now my love has gained its fame.
Slippin' into darkness, yeah
When i heard my mother say
I was slippin' into darkness, yeah
When i heard my mother say
You've been slippin' into darkness
Oh oh oh oh
Pretty soon, you're gonna pay.
Yeah, yeah.

 

Spill The Wine

I was once I was strolling one very hot summer's day
When I thought laid myself down to rest
In a big field of tall grass
I laid there in the sun and felt it carressing my face
As i fell asleep and dreamed
I dreamed i was in a hollywood movie
And that i was the star of the movie
This really blew my mind
The fact that me an overfed long haired leaping nome
Should be the star of a hollywood movie, hmmm
But there i was
I was taken to a place
The hall of the mountain kings
I stood high by the mountain tops
Naked to the world
In front of
Every kind of girl
There was long one's tall ones, short ones, brown ones,
Black ones, round ones, big ones, crazy ones
Out of the middle, came a lady
She whispered in my ear
Something crazy
She said,
Chorus x4
Spill the wine and take that pearl
I could feel hot flames of fire roaring at my back
As she disappeared, but soon she returned
In her hand was a bottle of wine
In the other a glass
She poured some of the wine from the bottle into the glass
And raised it to her lips
And just before she drank it, she said
Take the wine take that pearl
Spill the wine, take that pearl
Spill the wine, take that pearl
Spill the wine, take that pearl
Take that pearl, yeah!
It's on girl, all you gotta do is spill that wine
Spill that wine, let me feel, let me feel hot, yeah! yeah!
Spill the wine, spill the wine, spill the wine, spill the wine,
Spill the wine, spill the wine, spill the wine,
Take that pearl

Urban Funk
08/16/2013
Shirley Hanna-King

Story

In 1977, the Commodores were in the studio recording when there was a problem with the equipment. While the tapes were being repaired and replaced, the group took a break. Ronald LaPread, the Commodores' bass player, began jamming. Bit by bit the group joined in until they came up with the now famous track and bass line. Upon returning, James Carmichael, the Commodores producer heard and recognized that this could be a song worth recording. He asked everyone to see if they could use the riff to come up with a song. That night while he slept, William King's wife, Shirley Hanna-King, wrote. The following day, William played "Brick House" for the Commodores, allowing them to think he had written it. They loved it and decided that drummer, Walter "Clyde" Orange had the funky voice to sing lead vocals. "Brick House" went on the new album and sold millions of copies around the world. It was a few years before the Commodores discovered that it was actually Shirley Hanna-King who had written and coined the term "Brick House". Although not originally credited, the Commodores have publicly acknowledged Shirley Hanna-King as writer.[

Lyrics

Chorus:
She's a brick----house
Mighty mighty, just lettin' it all hang out
She's a brick----house
The lady's stacked and that's a fact,
ain't holding nothing back.

She's a brick----house
She's the one, the only one,
who's built like a amazon
We're together everybody knows,
and here's how the story goes.

Verse:
1. She knows she got everything
a woman needs to get a man, yeah.
How can she use, the things she use
36-24-36, what a winning hand!


(Chorus)


Verse:
2. The clothes she wears, the sexy ways,
make an old man wish for younger days
She knows she's built and knows how to please
Sure enough to knock a man to his knees


(Chorus)


Bridge:
Shake it down, shake it down now (repeat)

Urban Funk
08/16/2013
Curtis Mayfield

Story

"Superfly" is a song by Curtis Mayfield, the title track from his 1972 soundtrack album for the film of the same name. It was the second single released from the album, following "Freddie's Dead (Theme From Superfly)", and reached #8 on the Billboard Pop chart. The lyrics celebrate the craftiness and determinaton of the film's main character. The song plays over the film's closing credits.

The bassline and the rototom percussion break from the song's introduction (performed by Joseph "Lucky" Scott and "Master" Henry Gibson, respectively)[1] have repeatedly been sampled in songs including Beastie Boys' "Egg Man", The Notorious B.I.G.'s "Ready to Die Intro", and Nelly's "Tilt Ya Head Back" featuring Christina Aguilera. Mayfield himself sampled the original song in "Superfly 1990", a duet he recorded with rapper Ice-T.[2]

The song appeared in the 2009 film Madea Goes to Jail.

Lyrics

 


With the moon shining bright
There's a set goin' strong
Lotta things goin' on
The man of the hour
Has an air of great power
The dudes have envied him for so long

Oh, superfly
You're gonna make your fortune by and by
But if you lose, don't ask no questions why
The only game you know is do or die

Hard to understand
What a hell of a man
This cat of the slum
Had a mind, wasn't dumb
But a weakness was shown
'Cause his hustle was wrong
His mind was his own
But the man lived alone

Oh, superfly
You're gonna make your fortune by and by
But if you lose, don't ask no questions why
The only game you know is do or die

The game he plays he plays for keeps
Hustlin' times and ghetto streets tryin' ta get over
That's what he tryin' to do, y'all
Taking all that he can take
Gambling with the odds of fate
Tryin' to get over tryin' to get over
Tryin' to get over tryin' to get over
Superfly

The aim of his role
Was to move a lot of blow
Ask him his dream
What does it mean? He wouldn't know
Can't be like the rest
Is the most he'll confess
But the time's running out
And there's no happiness

Oh, superfly
You're gonna make your fortune by and by
But if you lose, don't ask no questions why
The only game you know is do or die

Superfly superfly
Superfly superfly
Tryin' to get over
Tryin' to get over
Tryin' to get over

 

 

 

Pusherman

I'm your mamma, I'm your daddy
I'm that nigga in the alley
I'm your doctor when in need
Want some coke, have some weed
You know me, I'm your friend
Your main boy, thick and thin

I'm your pusherman
I'm your pusherman

Ain't I clean? Bad machine
Super cool, super mean
Feelin' good, for the man
Superfly, here I stand
Secret stash, heavy bread
Baddest bitches in the bed

I'm your pusherman
I'm your pusherman
I'm your pusherman

Solid life of crime
A man of odd circumstance
A victim of ghetto demands
Feed me money for style
And I'll let you trip for a while
Insecure from the past
How long can a good thing last?
Woo-hoo, no

Got to be mellow, y'all
Gotta get mellow now
Pusherman gettin' mellow y'all

Heavy mind have you signed?
Makin' money all the time
My LD entrusts me
For all junkies to see
Ghetto prince is my thing
Makin' love's how I swing

I'm your pusherman
I'm your pusherman

Too bad, splee for a generous fee
Make your world what you want it to be
Got a woman I love desperately
Wanna give her somethin' better than me
Been told I can't be nothin' else
Just a hustler in spite of myself
I know I can rake it, this life just don't make it
Lord, lord

Got to get mellow now
Gotta be mellow, y'all
Got to get mellow now

I'm your mamma, I'm your daddy
I'm that nigga in the alley
I'm your doctor when in need
Want some coke, have some weed
You know me, I'm your friend
Your man boy, thick and thin

I'm your pusherman
I'm your pusherman
I'm your pusherman
Pusherman
Lord, Lord



Urban Funk
08/16/2013
The Beggining of The End, Munnings Brothers

Story

The Beginning of the End was a funk group from Nassau, Bahamas. The group formed in 1969 and consisted of three brothers (Frank, Ray and Roy Munnings), a fourth member on bass (Fred Henfield),[1] and a fifth on guitar (Livingston Colebrook). They released an album entitled Funky Nassau in 1971 on Alston Records (a subsidiary of Atlantic Records), and the track "Funky Nassau - Part I" became a hit single in the U.S., peaking at #15 on the Billboard Hot 100 chart, and #7 on the Billboard Black Singles chart.[2] The same track reached #31 in the UK Singles Chart in March 1974.[3]

Lyrics

Nassau's gone funky
Nassau's gone soul
We've got a doggone beat now
We gonna call our very own

Nassau rock and Nassau roll
Nassau's got a whole lotta soul


Huh
Feel alright


Mini skirts
Maxi skirts
And afro-haired dudes
People doin' their own thing
They don't care 'bout me or you


Nassau's gone funky
Nassau's gone soul
And we've got a doggone beat now
We gonna take care of business too


Listen to ze drummer, lay down his beat
Listen to ze bass man play zat same groovy beat
Attend the guitars is that soulsome tune
L'organ aussi!
Et les horns, oui, oui
Hors


Funky Nassau
Nassau funky
Alors, puis-je jouier s'il vous plait


New York you know
Has got a lot of soul, soul
And London Town
Is too doggone cold, too cold, hey
Nassau's got sunshine
And this you all know
But we all go funky
We got some soul, too, yeah

Yeah-yo
Yeah-yo
Yeah-yo
Yeah-yo

(scat)

Trumpet! Encore une fois!

Funky Nassau, funky Nassau
Funky Nassau, funky Nassau
Funky Nassau, funky Nassau
Funky Nassau, funky Nassau

Urban Funk
08/16/2013
Modeliste, Neville, Nocentelli, Porter

Story

Fiyo on the Bayou is the second studio album by the New Orleans four piece The Neville Brothers. It was released in 1981 on A&M. It also features a young Whitney Houston on backing vocals. In 1975 another album entitled Fire On The Bayou was released by The Meters, a band that included Art Neville on keyboards. "Hey Pocky Way" is a tune heard on the Meters' album, Rejuvenation. The album has also been released by Mobile Fidelity Sound Lab as an Ultradisc gold CD in 1994.[2]

Lyrics

Little bitty boy, with a heart of steel
You can't boogie now, but your sister sure will
Feel good music, I've been told
Good for your body, and it's good for your soul
Gonna do it now

Hey, hey, hey, hey
Hey, Pocky Way
Hey, hey, hey
Hey, Pocky Way

Lie back grooving, riding in your car
Makes no difference where you are
Feel good music in your soul
Makes your body do a slow boogie roll
Let me hear you say

Hey, hey, hey, hey
Hey, Pocky Way
Hey, hey, hey
Hey, Pocky Way

Big chief
Spy Boy
Uptown ruler

Hey, hey, hey, hey
Hey, Pocky Way
Hey, hey, hey, hey
Hey, Pocky Way
Hey, hey, hey, hey
Hey, Pocky Way
Hey, hey, hey
Hey, Pocky Way

Huh
Big chief
Keep on grooving
Keep on getting

Lie back grooving, riding in your car
Makes no difference where you are
Feel good music, I've been told
Good for your body, and it's good for your soul
Gonna get it now

Hey, hey, hey, hey
Hey, Pocky Way
Hey, hey, hey
Hey, Pocky Way

Uptown ruler
Bayou on the bayou
Everybody sing
Hey, Pocky Way
Hey, Pocky Way
Hey, Pocky Way

Urban Funk
08/16/2013
Johnny Guitar Watson

Story

John "Johnny 'Guitar'" Watson, Jr. (February 3, 1935 – May 17, 1996) was an American blues, soul, and funk musician and singer-songwriter.[1] A flamboyant showman and electric guitarist in the style of T-Bone Walker, Watson recorded throughout the 1950s and 1960s with some success. His creative reinvention in the 1970s with disco and funk overtones, saw Watson have hits with "Ain't That a Bitch", "I Need It" and "Superman Lover". His successful recording career spanned forty years, with his biggest hit being the 1977 "A Real Mother For Ya".[2]

Lyrics

 

Wanna buy a new car
But the price ain't right
Be a downside cheaper (yes it would)
Start riding a bike
They're making milk out of powder
Got the baby's crying
Rents gone up higher
Got the parents lying

Lord , its a real mother for ya (yeah)
make you wanna run for cover
And if you look you will discover (yeah)
Lord, its a real mother for ya yeah.

Got to go to a disco
Throw your troubles away
Dance to the music
That the DJ's play
And then the light's come on
Like you knew they would
Go home and face the music
that dont sound to good

Lord, its a real mother for ya (yeah)
make you wanna run for cover
And if you look you will discover (yeah)
Lord, its a real mother for ya yeah.

Lord , its a real mother for ya (yeah)
make you wanna run for cover (yes it will)
And if you look you will discover (yeah)
Lord, its a real mother for ya yeah
its a real mother for ya yeah (ah, get out of here)

To cold

Gimme 3 gallons of low lead

and two hot dogs and a strawberry shake



Urban Funk
08/16/2013
Daryl Hall & John Oates

Story

"Sara Smile" is the title of a song written and recorded by the American musical duo Hall & Oates. It was released in January 1976 as the second single from their album Daryl Hall & John Oates. The song was the group's first Top 10 hit in the US, reaching number four on the Billboard Hot 100. In late 2009, American country music singer Jimmy Wayne released a cover version with a backing vocal from the duo. In 2012, the British singer, Rumer, released a cover version on her album, Boys Don't Cry.[1] That album is entirely populated by songs written by male songwriters in the 1970s.

Lyrics



Baby hair with a woman's eyes
I can feel you watching in the night
All alone with me and we're waiting for the sunlight
When I feel cold you warm me
And when I feel I can't go on, you come and hold me
It's you and me forever

Sara, smile
Smile awhile for me, Sara

If you feel like leaving you know you can go
But why don't you wait until tomorrow
And if you want to be free
You know all you got to do is say so
When you feel cold I'll warm you
And when feel you can't go on
I'll come and hold you
It's you and me forever

Sara, smile
Oh, won't you smile awhile for me, Sara
Sara, smile
Oh, won't you smile awhile, Sara

Smile awhile
Oh, won't you smile awhile for me, Sara
Oh, smile awhile
Won't you laugh, Sara
Thank you for making me feel like a man
Keeping me crazy, crazy
Smile awhile
Urban Funk
08/15/2013
Alfred "Pee Wee" Ellis

Story

"Cold Sweat" is a song performed by James Brown and written with his bandleader Alfred "Pee Wee" Ellis. Brown recorded it in May 1967. An edited version of "Cold Sweat" released as a two-part single on King Records was a #1 R&B hit, and reached number seven on the Pop Singles chart.[1][2] The complete recording, over 7 minutes long, was included on an album of the same name.

Brown's lyrics describe how his woman's affections make him "break out in a cold sweat."

Lyrics

"Cold Sweat"

Ha!

I don't care ha about your past
I just want ho our love to last dee
I don't care darlin' about your faults huh
I just want to satisfy your pulse

Oh

When you kiss me
When you mess me
Hold my hand
Make me understand

I break out - in a cold sweat

Ho! Uh! Ho!

I don't care about your wants
I just wanna ha! tell ya about the does and don'ts
I don't care about the way you treat me darlin' ha!
I just want huh! to understand me honey

Oh

When you kiss me
And ya miss me
You hold me tight
Make everything all right

I break out - in a cold sweat heh!

Mercy on me
C'mon now
Brother
put it, put it where it's at now
Aww
Let him have it

uh!

Awww!
Urban Funk
03/14/2014
Eric Clapton
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Van Morrison
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Spinners
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Isley Brothers
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03/14/2014
The Commodores