"...in parting we wish you love, peace and soul!"

Legendary broadcaster Don Cornelius passed away earlier this week. I’m not sure there’s a way to adequately measure the impact of Don Cornelius and his creation Soul Train on post-1960s culture. Soul Train currently reigns as the longest running “first-run” show, broadcast continuously from 1971 to 2006, 35 full years, documenting so much American cultural history during that time that it boggles the mind. Personally, I spent most of my youth watching Soul Train on Saturday mornings and afternoons, I’m pretty sure most of my sensibilities as a dancer came to me from watching the show, as was the case for millions of people watching the “Soul Train Gang” and later “The Soul Train Dancers” do their thing.

Growing up in the 1980s, I only really knew the 1980s version of Soul Train. It wasn’t until years later that I discovered the absolute treasure trove of material from the show in the early 1970s. My wife and I were visiting some of my family in Atlanta, up late at night (which wasn’t late at night for us, since we were still on west coast time) when flipping through the channels we happened upon a live performance from Al Green. The experience was shocking for me, both because the performance was so amazing and because I hadn’t had any idea just how good the early Soul Train was. When you look at the list of all the artists who made their way down to the show, many of them playing live, it’s just extraordinary, just so much dynamite soul.

What also was fascinating about the show was just the simple fact of representation, by which I mean, Soul train didn’t try to do too much, it just showed the artists and the people getting down as they were. The dancers were mostly just local kids with serious style. They weren’t professionals, though many of them became professionals. When artists came on, these regular black folks got to ask the kind of questions regular people would have loved to have asked their heroes. When you think about the kinds of images that American culture often used to represent Black culture, what Soul Train did to humanize and normalize blackness is nothing short of revolutionary. That’s why I’m thankful to have grown up when I did, to see the show when it ran, and that now so many of those classic episodes are much more readily available. Below are some of my favorite moments from what’s available online. Thank you Don Cornelius and all the Soul Train gang…may you rest in love, peace and soul!

Honorable Mention: Afro-Sheen Commercials

As Questlove makes note, the Soul Train gang produced these spots and as corny as they may seem, it’s pretty special considering how rare it would have been in 1972 to have had ANY representations of black people in advertising, and to have these commercials highlight blackness from our own perspective is again, nothing short of revolutionary.

5.  Sly & the Family Stone – Dance To The Music / I Want To Take You Higher

Everybody knows how much I love Sly, and seeing him in this space, with what looks like his band from the Small Talk era (mentioned already as my favorite Sly Stone LP), cooking with some serious gas is like a dream come true. Amazing…

4.  Stevie Wonder Serenades Soul Train:

Just about the most heart warming thing you’ll ever see from one of the most heart warming musicians of all-time.

3.  Al Green with his arm in sling performing in 1974:

This is that performance I mentioned, that my wife and I saw late at night in Atlanta a number of years back. Transcendent to say the least…

2.  James Brown on Soul Train:

This clip is a collection of the many times that James Brown performed on Soul Train. I especially love when during “Super Bad” a dancer jumps up on stage to get funky, surprising James so much that you can literally see it in his face.

1.  Don Cornelius on the Soul Train Line:

Perhaps the only time that Don Cornelius got down on the Soul Train line, to James Brown no less and with Mary Wilson as a dance partner…absolutely priceless

foto © Jacob Blikenstaff

An under-rated though very appreciated (for those who know) legend passed away recently, Wardell Quezergue, one of several architects of the New Orleans soul sound, passed at 81. I’m in the process of planning a big tribute set for the Sept. 18th show when Melting Pot returns to the KPFK airwaves, but for the time being here’s 5 of my favorite Quezergue related songs, a couple of which I only had the faintest hint he was involved in until recently.

Smokey Johnson – I Can’t Help It

This isn’t just one of my favorite Quezergue related productions, it’s one of my single favorite soul instrumentals of ALL-TIME!!! There’s probably not a single song that I love to finger snap and soul clap on the beat to than this one with those the drum patterns and that rhythm…lord that rhythm! Just pure magic to dance to.

Robert Parker – Barefootin’

One of the breeziest NOLA soul songs, the first big hit on Quezergue’s NOLA label. I’m more partial to the flipside “Where The Action Is” but y’all already know that and it’s real hard to deny what a joy it is dance to this gem.

Dorothy Moore – Misty Blue

I’ve heard this song literally hundreds of times, it’s one of my faves and one of my wife’s all-time favorites, but I only just realized that the gorgeous arrangement that, along with Moore’s great vocals, lifts this one into legendary status was arrainged by none of other than Mr. Q.

King Floyd – Groove Me

It’s UNBELIEVABLE to me that ANYONE would hear this song and think, “Yeah, we’re gonna pass…” but that’s exactly what Atlantic Records did on this single, so Quezergue and gang put it out on their record label Chimneyville and it promptly became a big-time hit and later on Atlantic came crawling back. This one is from a pretty legendary session at Malaco studios in Alabama that also yielded Jean Knight’s “Mr. Big Stuff” maybe the biggest song Quezergue ever had a hand in. “Groove Me” is another all-time favorite of my, just a total smile inducing soul song with some of the best sentiments around love you’ll find in an upbeat mover of a song.

Smokey Johnson – It Ain’t My Fault

Another Smokey Johnson instrumental, with it’s opening drum lines, it just screams second line, the piano melody is a New Orleans staple, and one that’s been sampled a few times which Quezergue only recently got a settlement around. So much soul…Thank you Teacher!

Word hit today that Amy Winehouse passed away at the age of 27. It should come as a shock when someone this young and talented passes away, but with a young woman as troubled and self-destructive as Winehouse, it seems like we’ve been waiting for this news for several years. Even with the self-parody she had become post “Rehab,” it’s very hard to deny that on her two proper LPs Winehouse had considerable talent, as a singer and even more so as a songwriter. It is a shame that such talent has gone to waste, but we do still have her music. Here are five of my faves…may you finally find some peace Amy Winehouse.

Amy Winehouse – Valerie

In truth I still prefer the Zutons original version, but like many great singers, Amy took this one over brought out new elements and made it all her own.

Amy Winehouse – You Know I’m No Good

“Rehab” was the hit, but this was the one that sealed the deal for me, a tale of a bad girl gone badder, pitch perfect phrasing and out of sight writing. She told us she was trouble, we should have known from the start how this whole affair would end…

Amy Winehouse – Me and Mr. Jones

Along with “Fuck Me Pumps” I think this is one of my favorite “raw” Amy songs, pure brilliance on the “What kind of fuckery is this,” line, just pure brilliance.

Amy Winehouse – Stronger Than Me

Right now at her passing, I wish that someone close to her could have been stronger for her…such a shame. We only had a hint of the talent when her debut Frank was released, now we’ll never know what should could have achieved.

Amy Winehouse – Love Is A Losing Game

When my wife told me the news, this was the first song that came into my mind. More than any other it seems to fit both the reality and the myth of Amy Winehouse. It’s also one of her best vocal performances and the song that will remain most in my mind when I think of Amy Winehouse.

Forever Sky High...Rest In Peace Fonce Mizell

Word spread out earlier this week that Alphonso “Fonce” Mizell had passed away at the far too young age of 68. Fonce Mizell had a hand in some of the most indelible music of the 1960s and 1970s. First as a member of “The Corporation” at Motown, he helped put together several J5 hits, including “I Want You Back,” “The Love You Save” and “ABC.” There are few songs that I know of that have the universal appeal and just raw beautiful joie-de-vivre of those tracks. There are few perfect smile producing pop songs out there, but Mizell had a hand in more than a few.

Later on Fonce got together with his brother Larry and helped to produce some of the most smile inducing music of the 1970s through partnerships with Donald Byrd, Bobbi Humphrey, Johnny Hammond, Gary Bartz and others. The song is so distinct and yet so consistent regardless of the artist’s name attached to the record that, like David Axelrod from 1968-1971, really ALL of these albums should be listed under the Mizell Bros. It’s music that’s brought great joy to my life and countless others, through the originals or the MANY samples that have come out of Mizell Bros. productions. Definitely expect an hour long tribute on Melting Pot come July 24th, but for now I wanted to run down my Top 5 favorite Mizell Bros. productions.

Music Is My Sanctuary

Though it’s out of step with most of Bartz’s discography, I’m not sure there’s a better anthem than this track. Music is a major part of my life and every line in this song fits my experience with music and why, after almost 18 years and rarely getting paid for it, I continue to spend so much time playing, obsessing, listening, thinking about and loving music. “Music Is My Sanctuary” is indeed optimistical and so much more.

Harlem River Drive

Probably the first Mizell Bros. production that really grabbed onto me, mainly because of the way the lyrics, “Harlem River Drive, Going For A Ride,” are sung. Whether it’s the softness in the sound of the voices, the breeziness of the melody or the way “drive” and “ride” are extended and seem to melt away at each turn, it’s sounds like Heaven to me. Even if you can’t ride down Harlem River Drive, this is a perfect song to drive around on afternoons when the living is easy.

Think Twice

Probably the most sampled track, breaks for days for sure, but all together it’s such a fantastic song, from the female/male vocals to the rhythm and all those fantastic changes. Pure brilliance.

Dominoes

As I mentioned in my Side Bar conversation with Oliver Wang of Soul-Sides, I don’t think there’s a better summer song than this classic…if Doctor’s prescribed this song instead of anti-depressants, the world we be a significantly better place.

Lansana’s Priestess

As much as I love the other songs, the number one track from the Mizell Bros. that finds it’s way into my mind the most remains this lead track from the Street Lady. Like so many of the Mizell Bros. productions, it’s that easy and breezy nature in the groove, with the guitar, drums and synth/horn lines as the song opens and then keeps building and building and building. I can still vividly remember the first time I played this song on the radio, at Album 88 in Atlanta, early on in the monthly midnight show I used to do there “Soul Kitchen.” Several of the guys from the Hip-Hop shows were hanging around getting records and practicing routines for the weekend mix show “The Bomb.” One of them was JayCee who popped his head in and thanked me for playing this track saying how much it reminded him of growing up and having his folks playing this record at his home. To me that’s what this music evokes everytime I hear it, this beautiful and serene memory and I’m so thankful for the Mizell Bros. for producing it…Rest in peace Fonce Mizell.

I’ve been wanting to write more on Gil’s music this whole week, but haven’t found the right ways to do it. I could have probably come up with 20 “Top 5’s” connected to Gil, “Deepest Cuts,” “Best Sampled,” “Top Lyrics,” etc. I choose this list, because it was a trend that I noticed when I was putting together the tribute, even though I wasn’t able to include all of these tracks. Though Gil wrote about a lot of subjects, it seemed to have a particular affinity for songs that dealt with cities. The songs weren’t simple odes to a particular place, they instead served as vehicles for Gil to comment on current affairs as well as his own life. With that in mind here are 5 of these “City Songs” from Gil Scott-Heron.

“New York is Killing Me”

In some ways this song is more than a song. Now that Gil has passed, it seems prophetic, especially understanding the pitfalls that plagued the man’s life. Lyrically it’s also a double reference to earlier songs, “Back Home” and “New York City.” In “Back Home,” Gil is reminiscing about his time spent in Jackson, Tennessee, where his people come from (and incidentially very close to the West Tennessee area my people come from, with both of my parents getting their degrees from Lane College in Jackson) but in that song’s second verse it seems that he’s found a level of comfort away from Jackson. “New York City,” seems to back up that idea where Gil embraces his “second” home. Here though, Gil, a year before his death, seems to understand that “big city livin’” has been his undoing and longs to return to Jackson. So we have one song, about two cities and the contrast of life presented by these two moments in the history of the man.

“Angola, Louisiana”

As is the case with the other tracks on this list, most of Gil’s “City Songs,” were ways of focusing our attention on a particular political issue located in a specific corner of the world. “Angola, Louisiana”’s focus is on the Gary Tyler case. Tyler was accused and convicted of shooting a white teenager in 1975 during what I think can be best described as racial riot created by the desegregation of a local high school. At the time Tyler was 16, and one of the black students integrating the school. On the day of the shooting a crowd of upwards of 200 whites, including David Duke, still in the KKK at the time, descended on the school bus that included the black students, in the chaos that ensued a 13-year old white student was shot and killed and Tyler was arrested and beaten into a confession. Despite an US Appeals Court ruling that the trial was “fundamentally unfair,” Tyler remains in prison 35 years later. Gil attempted to shine the light on Tyler’s ordeal, hopefully people will find renewed interested in this case and continue to push for Tyler to get the trial he deserved back in 1975.

“Washington D.C.”

Here Gil takes on the explicit irony of Washington D.C., the capital of our fair land, where the most powerful people do their work, often secretly, and also home to some of the poorest living conditions in the U.S. Gil’s song reminds me how exceedingly rare it is to hear ANY news related to Washington, D.C. that isn’t connected to the politicians, as if no people actually live there at all. It’s only on rare occasions, like last year during Glenn Beck’s rally where people were warned about specific non-tourist areas of D.C., that also happened to be where all the black people live, that we ever hear anything about the incredible polarization there. Thank goodness for Gil and lines like, “Citizens of poverty are barely out of sight, Overlords escape in the evening with the people of the night…” This video reminds me that I need to track down a copy of “Black Wax,” cause seeing Gil walking around D.C. with a Boombox is just about the coolest thing I’ve ever seen in my life.

“We Almost Lost Detroit”

I think this track ranks up there with Gil’s most misunderstood or misused lyrics (Along with “The Revolution Will Not Be Televised,” which people take too literally, instead of considering Gil’s critique of consumer culture and “Peace Go With You Brother” which after you get through the spoken intro is a very critical look at blackness, success and responsibility). When I initially heard this back in the day, I focused on the chorus more than the lyrics and took the song as being related to the riots or just the problems that seemed to always befall Detroit. The title is very specific as is the song. It relates to the partial meltdown of a nuclear reactor in 1966, the subject of a book of the same name from John Fuller. It stands as one of the best “No Nukes” songs and something that we are painfully reminded of its relevance after the Japanese tsunami and the Fukushima reactor meltdown.

“Johannesburg”

Closing out this list is “Johannesburg,” which as I mentioned on the tribute was probably the first time I heard Gil’s voice, even if it was in a sample for Stetsasonic’s “A.F.R.I.C.A.” “Johannesburg,” is for me one of Gil’s greatest songs. Lyrically it’s very focused an simple, and sounds like it could have been born out of a conversation. Recorded a full year before the Soweto uprising and massacre, Gil is interested in a part of the world that most people in the US wouldn’t have been concerned with. The points he raises about “unreliable” media information remain true to this day, especially around the various uprisings occurring throughout the world currently. Like Gil, “I hate it when the blood starts flowing, but I’m glad to see resistance growing…” This song also contains a couple of my favorite lines from Gil, lines that I think shaped my own curiousity of the world and my persistence on solidarity with people fighting for their freedom, “I know that their strugglin’ over there, it ain’t gonna free me,” “But we all got to be strugglin’ if we want to be free, don’t you want to be free?” Yes I do, and I thank you Gil for inspiring us all to work towards freedom for all.

I’ve watched with amusement the recent “non-troversy” over the invite of Common to a poetry event First Lady Michelle Obama is throwing at the White House. If there was one rapper that you would think would be a safe bet to invite it would be Common, who has spent the better part of 20 years as one of the most socially conscious rappers in Hip-Hop. His lyrics haven’t always been perfect, but it’s comical to hear conservatives attempt to paint the man as a “vile thug” who advocates violence.

The little row does provide me an opportunity to reflect on the best tracks from a storied career, so here are the Top 5 conscious tracks from Common, one of my favorite rappers, both for the consistency of his rhymes (Universal Mind Control notwithstanding) his pitch perfect flow and his distinctive cadence that could only come out of the Windy City.

5 ½. Black Star feat. Common – Respiration

It’s not technically one of Common’s songs, but his guest verse on this legendary track by Black Star still sends chills down my spine every time I hear it.

5. Common – Retrospect For Life

You’d think Common would get some bonus points from Conservatives for this pro-life song, one of the few where a rapper has ever thoughfully considered the consequences of promiscuity and an unplanned fatherhood.

4. Common – The People

Classic even though it’s the most recent track on this list, great production from “The New Primo” Kanye West and great lines of uplift from Common.

3. Common – The Sixth Sense

Common paired with “The Real” Primo, featuring the debut of Bilal and great autobiographical and anthemic socially conscious lyrics.

2. Common – The Light

Without a doubt the best Hip-Hop song ever written from a man’s perspective on Love…

1. Common – I Used To Love H.E.R.

Without a doubt the greatest song ever written about Hip-Hop…

Big Chief Bo Dollis on Mardi Gras Day foto © wildmagnolias.net

As I write these words people in New Orleans and other parts of the world are celebrating Fat Tuesday or as we generally call it Mardi Gras. Being a soul and funk fan, especially one raised in the south, the music of New Orleans has had an indelible effect on how I listen to and what I enjoy about music and dancing. (That love for the music of New Orleans is just one of the many reasons I am so happy that a new season of Treme is fast approaching!)

And so, on a Mardi Gras day like today, in my opinion, there are truly no finer songs to sing or hear than these five tracks, several of which are on a fantastic collection (that I always seem to see for $4 or less) very appropriately called Mardi Gras in New Orleans…Laissez les bon temps roulet!

New Birth Brass – Going To Mardi Gras

Dr. John Creaux the Night Tripper – Mardi Gras Day

Bo Dollis & the Wild Magnolias – Handa Wanda

The Dixie Cups – Iko Iko

Professor Longhair – Big Chief

…I’ll add one more, maybe more of a song specifically for the later hours, just when you think the partying is done and you have to find your way back home and finally to bed, but then you discover that the good times have only really started…

Clifton Chenier – Bon Ton Roulet (Let The Good Times Roll)

This is what Freedom looks like

Like a number of people around the world here on Feb. 11th 2011, I’ve been absolutely amazed at the events in Egypt, where the people have risen up and caused a 30 year dictator to resign making an extraordinary move towards a truly free and democratic society in the Arab world. The future is as always unwritten, but today at least there is an astonishing celebration in Egypt and in many other places in the world. The following tracks are just a few that have been in my mind over the past 18 days and especially on this one, what I truly hope is Egypt’s “Freedom Day”…

Arabian Knightz – Rebel

Arrested Development – Revolution

Phil Ochs – The Ringing of Revolution

Richie Havens – Freedom

Max Roach – Freedom Day

I think one of the many things I appreciated about Captain Beefheart was the way he had with words. Here are my favorite lyrics from the Good Captain, sometimes insightful, sometimes playful, sometimes just plain silly, but always absolutely original.

“Ashtray Heart” from Doc At The Radar Station (1980)

“You used me like an ashtray heart,
Right from the start…a case of the punks,”
Another day, another way,
Somebody’s had too much to think,
Open up another case of the punks!”

“Dirty Blue Gene” from Doc At The Radar Station (1980)

“She’s not bad, she’s just ge-net-i-ca-lly mean,
Don’t you wish you’d never met her?”

“Grow Fins” from The Spotlight Kid (1974)

“I’m gonna grow fins,
And go back in the water again,
If you don’t leave me alone,
Imma take up with a mermaid and leave you landlubbin’ women alone…”

“Nowadays A Woman’s Gotta Hit A Man” from Clear Spot (1972)

“Nowadays a woman has to haul off and hit a man to make him know she’s there,
Other night a woman came up and hit me like I wasn’t even there,
Yeah, um, dawned on me man,
That a man been doin’ a woman unfair”

“Click Clack” from the Spotlight Kid (1972)

“We’ll I had this girl, threatened to leave me all the time,
Threatened to go down now,
Go down to New Orleans, get herself lost and found”

The Cool Ruler...Gregory Isaacs. May you rest in peace...

Just yesterday I found out that legendary singer Gregory Isaacs passed away due to complications with lung cancer. For longer than I can remember I’ve had a love affair with the music of Jamaica. Beginning with Bob Marley and moving through Roots to Dance Hall to Ska and Rock Steady and all points in between and back again over the years. Of all the artists from JA that I’ve loved, I’m not sure there’s a better singer than Gregory Isaacs. In truth, I’d rank Isaacs up there in a list of great soul singers of any genre and any locale. For me what separated Isaacs from the others was the intense intimacy of his phrasing and his voice. Like other great singers, it didn’t matter how many times you’d heard a song before Isaacs sang it, when he sang the song, it was his. Below are a few of my favorite performances from the legendary Cool Ruler, whose voice will continue to make the lover’s rock…

{honorable mention…or maybe 5 1/2} “Let’s Dance”

For me this is the quintessential “lover’s rock” jam, built for late nights with your one and only. It features some very rare admissions of tenderness from a man as Isaacs sings “As we embrace and your heart gets close to mine, I get so excited I could cry.”

5. “Storm”

One of my favorite King Tubby riddims pared with Mr. Isaacs equals nothing but pure gold to the ears and the call to remember, “whenever there is a storm, I know there’s got to be a calm.”

4. “One More Time”

From what remains my single favorite Reggae album of all time, 1978′s Cool Ruler, is this upbeat roots rocker where Isaacs begs for his woman to “cool down” and give him “one more chance.” How could anyone resist the Cool Ruler?

3. “My Number One”

Certainly one of his greatest sides, as he attempts test his lover and determine her “future plans” to see if her love is truly true.

2. “Native Woman”

Also from 1978′s Cool Ruler, this one might be the best, most honest and deepest expression of love I’ve heard in a reggae track. I love how this “Native Woman” does not seem to be perfect, as Isaac’s says “she brings me joy into the morning, sometimes.” but its this woman who occupies his mind so totally that “her voice awakes [him] sometimes out of [his] sleep.”

1. “Willow Tree”

I don’t think “Willow Tree” is really considered one of his great sides, Isaacs fans would probably be shocked that “Night Nurse” isn’t even on this list, but “Willow Tree” remains my favorite track from Isaacs because of the deep feeling of intimacy he expresses through his phrasing. When he sings to the Willow tree, “cry not for me, my willow tree,” you can almost picture Isaacs caressing the face (if trees had faces) of the Weeping Willow, pleading with it to stop its tears, because Isaacs has found all that he’s ever been looking for in the love of his life, a “love I’ve searched for.” When Isaacs sings those lines he sounds as if he himself is on the verge of tears, which is exactly what I’m almost brought to everytime I hear it because of range of emotion brought out by Mr. Isaacs, a talent that this world is going to miss dearly.

With the word coming down of the passing of Melvin Bliss last week, it seemed more than fitting to get this together, the first proper post in the “Top 5’s” section, all on the most iconic break-beats in Hip-Hop history. The choice of “iconic” is a deliberate one. Though many of these songs have been sampled 100s of times, it’s not just the fact that they have been mega-sampled that makes them iconic, it’s how they’ve been sampled and how they stick in the mind. So, here’s my list of the 5 most iconic breaks in Hip-Hop history, feel free to add your own in the comments section.

5: Melvin Bliss – “Synthetic Substitution”

With it’s massive drums and gloomy piano/organ, “Synthetic” is certainly one of the most sampled tracks of all time. It might also be the best overall song on this list, with observations on a dystopian world that seems a little too close to our present civilization from Mr. Bliss (RIP). To me it’s iconic status is secured by virtue of being on one of the earliest and still to this best examples of sampling on record, Ultramagnetic MC’s “Ego Trippin’” a song that continues to sound ahead of its time now almost 25 years since it’s initial release.  For a mix of some of the other classic tracks to use this break look no further than this mix put together by Matthew Africa

Melvin Bliss – “Synthetic Substitution”

Ultramagnetic MC’s – “Ego Trippin’”

4: Lyn Collins – “Think (About It)”

Though this James Brown produced track gets associated mostly with Rob Base & DJ EZ Rock’s “It Takes Two” it’s been sampled by a ton of others as well, from Chubb Rock to Kool Moe Dee to Slick Rick to even more R&B/Pop based artists like New Edition, BoyzIIMen and Janet Jackson. It’s still amazing to me how few people recognize the original, until it hits the classic “It Takes Two” breakdown, but when it does, you understand immediately why I’d have it on this list.

Lyn Collins – “Think”

Rob Base & DJ Ez Rock – “It Takes Two”

3: The Winstons – “Amen Brother”

Another bedrock sample, that’s been chopped up and slowed down by countless artists. The “Amen” break is such an icon it even has an excellent documentary detailing the impact of this exceptional break on modern music. Besides it’s effect on Hip-Hop, the “Amen” break spawned a completely separate break-beat culture in Jungle/Drum’n’Bass and for that it deserves it’s legendary status.

The Winstons – “Amen Brother”

N.W.A. – “Straight Outta Compton”

2: James Brown – “Funky Drummer”

“Funky Drummer” might be the most sampled song in the history of Hip-Hop. While the drums have been used in songs like Public Enemy’s “Rebel Without A Pause” (matter of fact, is it even possible to think of the Bomb squad production sound without the use of “Funky Drummer”?) Eric B & Rakim’s “Lyrics of Fury” and my choice below LL’s “Mama Said Knock You Out,” don’t forget that many of the classic James Brown yelps and screams that punctuated many Golden Era productions came from this one as well. In the end though, it always comes back to Clyde Stubblefield’s massive drums.

James Brown – “The Funky Drummer”

LL Cool J – “Mama Said Knock You Out”

1: Freddie Scott – “(You) Got What I Need”

Unlike the other tracks here, Freddie Scott’s “(You) Got What I Need” has not been sampled to death, in fact it’s only been sampled a couple of times. This one heads the list because after Biz Markie sampled this for his “Just A Friend” it was absolutely impossible for anyone else to even attempt to sample this. Biz makes such brilliant use of the opening drums and the hook that anytime you hear even a snippet of this track, people immediately think of it as “Just A Friend.” Even at soul clubs, when I play the original, people sing the Biz Markie lyrics “But you say he’s just a friend,” instead of Freddie Scott’s original lyrics.

It’s also at the top of this list because I don’t think there is a more life affirming action than dropping the needle on Biz’s version or the original and having people immediately respond and start singing with the chorus. I would argue that no Hip-Hop song, including “Rapper’s Delight” has brought more people together in good times than this song and because of that, I don’t think there is a mightier sample than this one.

Freddie Scott – “(You) Got What I Need”

Biz Markie @ the Apollo in 1990 – “Just A Friend”