Okay, I shouldn't even be fucking around in this thread, seeing as how '80s soul isn't really my thing, but I need to bring up this guy whose name has not been mentioned in this thread (to my knowledge):
Miles Jaye was briefly popular in the "trenchcoat era" (as y'all say)...I won't pretend I'm a full-on fan, but "I've Been A Fool For You" (1988) was one of his hits, and was a major guilty pleasure for me...just a damned fine song that would sound good regardless...I recently found a 7" of this record, and must have played it four or five times in a row the day I got it. It'll probably get even more mileage before too long.
Okay, I shouldn't even be fucking around in this thread, seeing as how '80s soul isn't really my thing, but I need to bring up this guy whose name has not been mentioned in this thread (to my knowledge):
Miles Jaye was briefly popular in the "trenchcoat era" (as y'all say)...I won't pretend I'm a full-on fan, but "I've Been A Fool For You" (1988) was one of his hits, and was a major guilty pleasure for me...just a damned fine song that would sound good regardless...I recently found a 7" of this record, and must have played it four or five times in a row the day I got it. It'll probably get even more mileage before too long.
What does postmodern mean here? Are we just talking about where stuff falls on the timeline- like post '85 or so? Or are we literally trying to make some kind of loose connection between the recent history of soul music and the principles of postmodernism? If the latter, I would nominate R. Kelly and co-sign on D'Arby. Definately have to give a nod to Timbaland on the production tip, too. Prince is a bit of a paradox, because his music seems more postmodern to me than modern, yet he was clearly one of the main influences of what we refer to as the modern soul sound.
What does postmodern mean here? Are we just talking about where stuff falls on the timeline- like post '85 or so? Or are we literally trying to make some kind of loose connection between the recent history of soul music and the principles of postmodernism? If the latter, I would nominate R. Kelly and co-sign on D'Arby. Definately have to give a nod to Timbaland on the production tip, too. Prince is a bit of a paradox, because his music seems more postmodern to me than modern, yet he was clearly one of the main influences of what we refer to as the modern soul sound.
Post 85 non hip hop soul up to the Neo Soul era.
R.kelly is a no because of his teddy Riley/aaron hall harlem uptown hip hop new jack swing clone.
What does postmodern mean here? Are we just talking about where stuff falls on the timeline- like post '85 or so? Or are we literally trying to make some kind of loose connection between the recent history of soul music and the principles of postmodernism? If the latter, I would nominate R. Kelly and co-sign on D'Arby. Definately have to give a nod to Timbaland on the production tip, too. Prince is a bit of a paradox, because his music seems more postmodern to me than modern, yet he was clearly one of the main influences of what we refer to as the modern soul sound.
I believe it falls somewhere between 85 and 88, after Boogie and before New Jack Swing.
What does postmodern mean here? Are we just talking about where stuff falls on the timeline- like post '85 or so? Or are we literally trying to make some kind of loose connection between the recent history of soul music and the principles of postmodernism? If the latter, I would nominate R. Kelly and co-sign on D'Arby. Definately have to give a nod to Timbaland on the production tip, too. Prince is a bit of a paradox, because his music seems more postmodern to me than modern, yet he was clearly one of the main influences of what we refer to as the modern soul sound.
I believe it falls somewhere between 85 and 88, after Boogie and before New Jack Swing.
[color:brown] "Both Miki Howard and Howard Hewitt began their solo careers at a time when R&B music was in transition. Howard's debut Come Share My Love (1986) and Hewitt's I Commit To Love (1986) were released the same year that Luther Vandross and Anita Baker and their "retro-nouveau" soul (as defined by Nelson George) found their way to "crossover" audiences, a year after Whitney Houston's breakout debut (which sold 10 million copies) and the same year that Run-DMC's collaboration with Aerosmith on "Walk This Way" would forever change the (video) landscape of popular music. A year later, Eric B and Rakim, Boogie Down Productions with KRS-One, and Public Enemy would release groundbreaking full length and 12-inch recordings. By the time PE's It Takes A Nation of Millions became the most talked about political pop since Marvin Gaye's What's Going On? and Rakim was guesting on Jody Watley's track "Friends" (the first successful R&B/hip-hop hybrid recording, the music of Full Force not withstanding), it was clear that R&B's fortunes were intimately tied to the urban "noise" that it had tried to distance itself from since "Rapper's Delight" hit the airwaves in the fall of 1979. "
"It was Teddy Riley who first successfully married hip-hop's swagger with R&B's harmonies, creating the rich textured sound that would be named "New Jack Swing", leading the way for the Puffys, JDs, and R. Kelly's of the world. By 1992 a host of "mature" R&B vocalists including the late Phyllis Hyman, Will Downing, Rachelle Ferrell, Stephanie Mills and Regina Bell were being put out to (adult contemporary and smooth jazz) pasture to make way for the likes of SWV, Shai, Jade, Jodeci and later Joe, Mary J Blige, Aaliyah, and Usher -- all fine artists, but artists who clearly were given to providing for the "urban" and hip-hop faithful. Capturing their output from their 1986 debuts to their last "commercial" releases in 1992 The Very Best of Howard Hewitt and The Very Best of Miki Howard compiles the artistry of two of the "transitional" R&B performers who managed to survive and momentarily ward off the coming "old-school" purge. " [/color]
What does postmodern mean here? Are we just talking about where stuff falls on the timeline- like post '85 or so? Or are we literally trying to make some kind of loose connection between the recent history of soul music and the principles of postmodernism? If the latter, I would nominate R. Kelly and co-sign on D'Arby. Definately have to give a nod to Timbaland on the production tip, too. Prince is a bit of a paradox, because his music seems more postmodern to me than modern, yet he was clearly one of the main influences of what we refer to as the modern soul sound.
I believe it falls somewhere between 85 and 88, after Boogie and before New Jack Swing.
1985: So Many Rivers (MCA) - 1985: Someday We'll All Be Free (Beverly Glen) 1986: Womagic (MCA) - 1987: Last Soul Man (MCA) 1989: Save The Children (Solar)
Anyone have a critique on these albums as a whole.
I only own a Comp of his MCA years that focus on the "good" tracks form these albums plus some other songs.
patrice rushen. all day...remind me, givin it up is givin it up, settle for my love, havent you heard, #1. and of course a jam i never play not that its bad, just overkill.... forget me knots.
All early 80's.
BUT........
1987....
damn i love this song.
does this fall into the category: Howard Johnson - The Vision
1985: So Many Rivers (MCA) - 1985: Someday We'll All Be Free (Beverly Glen) 1986: Womagic (MCA) - 1987: Last Soul Man (MCA) 1989: Save The Children (Solar)
Anyone have a critique on these albums as a whole.
I only own a Comp of his MCA years that focus on the "good" tracks form these albums plus some other songs.
1985: So Many Rivers (MCA) - 1985: Someday We'll All Be Free (Beverly Glen) 1986: Womagic (MCA) - 1987: Last Soul Man (MCA) 1989: Save The Children (Solar)
Anyone have a critique on these albums as a whole.
I only own a Comp of his MCA years that focus on the "good" tracks form these albums plus some other songs.
anyone?
Bobby Womack critique pleez.
Luther Vandross + Z.Z. Hill = Bobby Womack's '80s output
Comments
no...not at all.
Disco/Dance?
musically i think it would fit, tho. altho perhaps not the larry levan mix
Trenchcoat Soul
Miles Jaye was briefly popular in the "trenchcoat era" (as y'all say)...I won't pretend I'm a full-on fan, but "I've Been A Fool For You" (1988) was one of his hits, and was a major guilty pleasure for me...just a damned fine song that would sound good regardless...I recently found a 7" of this record, and must have played it four or five times in a row the day I got it. It'll probably get even more mileage before too long.
http://rockmetonight.blogspot.com/
:-O
the camera work in this video kind of makes me seasick
I would think so. PO-MO Soul??
...while drinkin' a Tropical Wine Cooler.
Why no mention of Sade? Or does she get her own shit like Anita?
Post 85 non hip hop soul up to the Neo Soul era.
R.kelly is a no because of his teddy Riley/aaron hall harlem uptown hip hop new jack swing clone.
Sade & Anita do fall into the era.
I believe it falls somewhere between 85 and 88, after Boogie and before New Jack Swing.
[color:brown]
"Both Miki Howard and Howard Hewitt began their solo careers at a time when R&B music was in transition. Howard's debut Come Share My Love (1986) and Hewitt's I Commit To Love (1986) were released the same year that Luther Vandross and Anita Baker and their "retro-nouveau" soul (as defined by Nelson George) found their way to "crossover" audiences, a year after Whitney Houston's breakout debut (which sold 10 million copies) and the same year that Run-DMC's collaboration with Aerosmith on "Walk This Way" would forever change the (video) landscape of popular music. A year later, Eric B and Rakim, Boogie Down Productions with KRS-One, and Public Enemy would release groundbreaking full length and 12-inch recordings. By the time PE's It Takes A Nation of Millions became the most talked about political pop since Marvin Gaye's What's Going On? and Rakim was guesting on Jody Watley's track "Friends" (the first successful R&B/hip-hop hybrid recording, the music of Full Force not withstanding), it was clear that R&B's fortunes were intimately tied to the urban "noise" that it had tried to distance itself from since "Rapper's Delight" hit the airwaves in the fall of 1979. "
"It was Teddy Riley who first successfully married hip-hop's swagger with R&B's harmonies, creating the rich textured sound that would be named "New Jack Swing", leading the way for the Puffys, JDs, and R. Kelly's of the world. By 1992 a host of "mature" R&B vocalists including the late Phyllis Hyman, Will Downing, Rachelle Ferrell, Stephanie Mills and Regina Bell were being put out to (adult contemporary and smooth jazz) pasture to make way for the likes of SWV, Shai, Jade, Jodeci and later Joe, Mary J Blige, Aaliyah, and Usher -- all fine artists, but artists who clearly were given to providing for the "urban" and hip-hop faithful. Capturing their output from their 1986 debuts to their last "commercial" releases in 1992 The Very Best of Howard Hewitt and The Very Best of Miki Howard compiles the artistry of two of the "transitional" R&B performers who managed to survive and momentarily ward off the coming "old-school" purge. " [/color]
Hell to the Yes
I'll go with:
1985: Someday We'll All Be Free (Beverly Glen)
1986: Womagic (MCA) -
1987: Last Soul Man (MCA)
1989: Save The Children (Solar)
Anyone have a critique on these albums as a whole.
I only own a Comp of his MCA years that focus on the "good" tracks form these albums plus some other songs.
damn i love this song.
does this fall into the category:
Howard Johnson - The Vision
anyone?
Bobby Womack critique pleez.
Luther Vandross + Z.Z. Hill = Bobby Womack's '80s output
Minimal Gospel Soul from '88