Zach and Callie reconvene in (by our standards) record time for another Dystopian Book Club Official Selection: Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You? by Parliament–Funkadelic maestro George Clinton. Enjoy as we discuss our love of P-Funk and the book’s disappointing lack of hot deets on the Super Mario Bros. movie.
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Heard ya missed us, we’re back! After a year-long absence, the Dystopian Book Club returns with an extensive look at Crazy from the Heat, the memoir/literary classic/deranged, barely coherent rantings of former Van Halen frontman, raconteur, and assless pants aficionado David Lee Roth. So limber up, slip into your comfiest Spandex, and maybe treat yourself to a powdered doughnut or two (wink, wink)–this may be our most fun book club since Peter Criss. Thanks to Matt from Toronto for sending in a question and making sure we didn’t take our shirts off for nothing.
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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.
(more…)As we’ve mentioned time and time again, while Jheri Curl is both a musical genre and a hairstyle, a jheri curl is not required to make top-notch Jheri Curl Music. Jane Child is a prime example of an artist whose hair consisted of just about everything BUT a jheri curl, but who still made a banger that fits firmly within the JCM genre.
Raised a classically trained pianist, Child wrote, arranged, and performed all of her self-titled 1989 debut, and was referred to by the press as “the female Prince” (like Prince, she was also signed to Warner Bros. at the time). Her first album is a great collection of late-era Jheri Curl Music, with plenty of synthesizer flares to smooth out the late-’80s hard rock guitars. “Don’t Wanna Fall in Love” is a catchy jam that was Number 2 on the Billboard charts for three weeks–kept out of the top spot, ironically, by Sinead O’Connor’s cover of the Prince-penned “Nothing Compares 2 U.”
(more…)Like last year’s Jheri Curl June inductee Vesta Williams, Meli’sa Morgan was a backup singer for Chaka Khan before beginning her solo career. The influence is obvious. Morgan and Khan both have larger than life, soulful voices; even larger hair; and a connection to Prince: the title track and first hit single from Morgan’s solo debut album was a cover of “Do Me, Baby.”
But it’s the album’s third single, “Fool’s Paradise,” that I’m inducting into the hallowed halls of Jheri Curl June–mainly just because it’s a goddamn bop, and this video of Morgan lip-syncing, flanked by three dudes in half-shirts in a room full of bubbles, is what Jheri Curl June is all about:
In some ways, it’s surprising that it took us this long to feature Colonel Abrams (real name, no gimmicks) for Jheri Curl June. He was born in Detroit–always a big plus for us proud Southeastern Michiganders. He had connections to the architects of the sound, having sung on a few tracks by 94 East, a Minneapolis-based studio band that briefly featured an 18-year-old Prince Rogers Nelson on guitar. And, while the Colonel is better-known as a house artist, one listen to the whining synthesizers and flanged drum-machine claps on his 1985 debut album should be more than enough to get your Jheri Curl sense a-tingling.
Like JCJ Class of 2015 member James “D-Train” Williams, Colonel Abrams distinguished himself by layering a soulful, gospel-infused baritone over his futuristic soundscapes. Indeed, “The Truth” from his debut album basically is a gospel song, with Abrams testifying “Let’s stop all hatred / ‘Cause love is what we need,” a bank of synthesizers taking the place of the church organ. I’m not a church-going man, but if it was anything like the music video above–featuring the Colonel in a graffitied alley, rocking Sgt. Pepper marching-band chic years before Michael Jackson and flanked by what appear to be the dancers from Pat Benatar’s “Love is a Battlefield” video–then I’d be in that bitch every Sunday morning.
Last Thursday, June 7, would have been Prince’s 60th birthday had he: a) not passed away in April 2016, and b) believed in concepts as prosaic as “birthdays” and “years.” Last week also happened to mark the underwhelming conclusion of the beef between rappers Pusha T and Drake, which just a few short weeks ago felt like the only thing anyone on the Internet was talking about. So, I thought, why not make today’s Jheri Curl June post a diss track about Prince?
Released on Gap Band VI (actually, confusingly, the eighth album by Tulsa, Oklahoma’s Gap Band) in December 1984, there’s nothing about “Disrespect” that directly implicates Prince–except, of course, for the sound, which pairs Minneapolis-style sustained synth chords and a “Controversy”-esque bassline with call and response right out of the P-Funk playbook. The lyrics, by Gap Band frontman Charlie Wilson, are aggrieved but non-specific, excoriating some unfortunate “sucka” who “had the chance” but “disrespected” him.
Long before SZA’s ode to sharing a man, Fatback Band had “Double Love Affair,” a playful, jaunty tune about two-timing from the point of view of a man who “has so much love inside” that he “has to spread it out.” It might be the most lighthearted, infectious song about blatant infidelity ever recorded.
Musically, the Prince influence is undeniable. Or more appropriately, it’s as much a ripoff of Ebonee Webb’s “Something About You” as “Something About You” was a ripoff of Prince’s “Head.” The whole song is sung in falsetto with Prince-like yelps, and toward the end of the track there’s even some heavy breathing. That’s right, folks, five years into Jheri Curl June and we’re just beginning to understand the self-referential quality of Jheri Curl Music.
Like Monday’s JCJ inductees, Mandrill, Fatback Band had been around for a full decade before 1983’s Is This the Future? While certainly not their strongest output, it’s an album that speaks to Fatback Band’s ability to successfully adapt to the New Wave sounds of the ’80s.
And that’s Jheri Curl June Week 1 in the can! Click through below for the latest updates on our Spotify and YouTube playlists. See you again on Monday!