Dystopian Dance Party

Tag: pebbles

  • Jheri Curl June: Pebbles’ “Mercedes Boy”

    We’ve spoken briefly about Perri “Pebbles” Reid before, in the context of our 2016 profile of her ex-husband and producer, L.A. Reid, as well as our 2018 profile on André Cymone, who co-wrote her contribution to the Beverly Hills Cop II soundtrack, “Love/Hate.” But part of the point of Jheri Curl June Ladies’ Week is to give the women of Jheri Curl Music a chance to step out from their male producers’ shadows and get their own turn in the spotlight; and besides, Pebbles’ 1987 debut album–and the Number 1 R&B hit “Mercedes Boy” in particular–is just too damn good to ignore.

    Written by Pebbles herself and co-produced with Charlie Wilson (yes, that Charlie Wilson), “Mercedes Boy” is vintage late-era JCM, with a freestyle-inspired programmed bassline and a positively dripping guitar solo. The music video, released in March of 1988, might try to fool us with its close-cropped male dancer; but we all know the hairstyle the boy of Pebbles’ dreams is really rocking, and let’s just say her Mercedes had better have some plastic headrest covers.

    Sadly, that wraps up Ladies’ Week for this year; but Jheri Curl June still has a week and a half left to go! Until then, check out those growing Spotify and YouTube playlists below:

    https://open.spotify.com/playlist/4DHwfbLgF2W2Xp2ZpqcDdg?si=42ca01490739433f

  • Jheri Curl June Special: André Cymone

    It’s a poetic fluke of the cosmos that so many Jheri Curl Music innovators’ birthdays fall in June, the genre’s holiest month. So far, we’ve highlighted Prince (June 7), Jimmy Jam (June 6), L.A. Reid (also June 7), and Jesse Johnson (June 1)–as well as Michael Jackson, who passed away on June 25, 2009. Now, on the occasion of his 60th birthday, it’s finally time to induct André Cymone into the JCM Hall of Fame.

    As Prince’s earliest musical collaborator, André Cymone played an integral, but regrettably overshadowed part in the creation of the Jheri Curl Music strain more popularly known as the Minneapolis Sound. On our Prince associates podcast from a couple of years ago, I described Cymone as the twin Prince (figuratively, of course) consumed in utero. So many of the more famous artist’s stylistic choices in the first three years of his career–from his embrace of New Wave sounds and fashions to the whole song “Do Me, Baby”–can be more accurately interpreted as a collaborative effort between himself and his one-time surrogate brother. By the time André, understandably fed up with the lack of credit for his work, went solo in early 1981, the persona known as “Prince” had been more or less fully formed; this inevitably did his longtime partner a disservice by making his solo career look like an imitation.

    But today we celebrate André Cymone not as an imitator, but as the innovator he was. While he may not have scaled the critical or commercial heights of his musical other half, his efforts–both behind the scenes and in the spotlight–left an indelible mark on Jheri Curl Music, and on the last 30 years of pop and R&B in general.

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  • Jheri Curl June Special: L.A. Reid

    If you’re a regular Jheri Curl June reader, then you should already know that the first week of June holds special signifance in jheri curl music history. As we noted back in our very first Jheri Curl June Special of 2014, Prince’s birthday falls at the end of the week, on June 7. Just a day earlier, there’s also the birthday of megaproducer and Prince’s fellow Minneapolitan, James “Jimmy Jam” Harris III: the subject, with musical life partner Terry Lewis, of our 2015 JCJ Special. And if all that wasn’t enough, on the very same date as Prince, another Midwestern Jheri Curl architect was born in 1956: Cincinnati, Ohio’s own Antonio “L.A.” Reid.

    With all due respect to Mr. Reid–who, in my defense, has so much money that I sincerely doubt he cares–there’s a reason why we waited three years to enshrine him in the Jheri Curl June Hall of Fame. If, as I suggested last year, Prince was Jheri Curl’s principal architect and Jam and Lewis its most successful engineers, then Reid and his longtime colleague Kenneth “Babyface” Edmonds were more like JCM’s property developers, building on the blueprints of the Minneapolis Sound to considerable success without ever really innovating on the formula. When we think about L.A. and Babyface, we think about…well, LaFace, a label synonymous with early ’90s R&B. Their achievements in the previous decade were decidedly more modest.

    But that doesn’t mean they weren’t, in their own way, important. Dystopian Dance Party has love for Reid’s and Edmonds’ early band the Deele, and last year we highlighted one of the pair’s late-era jheri curl productions, “Rock Steady” by the Whispers. There’s plenty of room in pop music for songs that refine and iterate on existing formulas, rather than reinventing the wheel; this is especially true in jheri curl music, a genre that existed pretty much exclusively as a vehicle for up-and-coming artists to bite from Prince and Michael Jackson. This, then, is our tribute to L.A. Reid: maybe not the most innovative of artists, but a shrewd businessman, a talented musician, and a gifted producer and songwriter who could, let’s not forget, buy and sell all of us in a second.

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