Chic is regarded by many as a great disco band, but in reality, the smooth baselines from producer Nile Rodgers actually were the beginnings of the funk era.

Nile first picked up a guitar while still in school and there was no stopping the evident talent that quickly emerged. At the age of 19, Nile not only worked for Sesame Street, but was performing nightly as part of the house band for the world renowned Apollo Theatre in Harlem, playing with luminaries such as Aretha Franklin, Parliament Funkadelic, Ben E. King, and The Cadillacs. Pretty amazing for a skinny kid with glasses from New York City, but he wanted more. Nile Rodgers wanted a band of his own. - www.nilerogers.com

There can be little argument that Chic was disco’s greatest band; and, working in a heavily producer-dominated field, they were most definitely a band. By the time Chic appeared in the late ’70s, disco was already slipping into the excess that eventually caused its downfall. Chic bucked the trend by stripping disco’s sound down to its basic elements; their funky, stylish grooves had an organic sense of interplay that was missing from many of their overproduced competitors.

Chic’s sound was anchored by the scratchy, James Brown-style rhythm guitar of Nile Rodgers and the indelible, widely imitated (sometimes outright stolen) bass lines of Bernard Edwards; as producers, they used keyboard and string embellishments economically, which kept the emphasis on rhythm. Chic’s distinctive approach not only resulted in some of the finest dance singles of their time, but also helped create a template for urban funk, dance-pop, and even hip-hop in the post-disco era. Not coincidentally, Rodgers and Edwards wound up as two of the most successful producers of the ’80s.

Rodgers and Edwards first met in 1970, when both were jazz-trained musicians fresh out of high school. Edwards had attended New York’s High School for the Performing Arts and was working in a Bronx post office at the time, while Rodgers’ early career also included stints in the folk group New World Rising and the Apollo Theater house orchestra. Around 1972, Rodgers and Edwards formed a jazz-rock fusion group called the Big Apple Band.

This outfit moonlighted as a backup band, touring behind smooth soul vocal group New York City in the wake of their 1973 hit “I’m Doin’ Fine Now.” After New York City broke up, the Big Apple Band hit the road with Carol Douglas for a few months, and Rodgers and Edwards decided to make a go of it on their own toward the end of 1976. At first they switched their aspirations from fusion to new wave, briefly performing as Allah & the Knife Wielding Punks, but quickly settled into dance music. They enlisted onetime LaBelle drummer Tony Thompson and female vocalists Norma Jean Wright and Alfa Anderson, and changed their name to Chic in summer 1977 so as to avoid confusion with Walter Murphy & the Big Apple Band (who’d just hit big with “A Fifth of Beethoven”).

Augmented in the studio by keyboardists Raymond Jones and Rob Sabino, Chic recorded the demo single “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)” and shopped it around to several major record companies, all of which declined it. The small Buddah label finally released it as a 12″ in late 1977, and as its club popularity exploded, Atlantic stepped in, signed the group, and re-released the single on a wider basis. “Dance, Dance, Dance” hit the Top Ten, peaking at number six, and made Chic one of the hottest new groups in disco. Chic scrambled to put together their self-titled first album, which spawned a minor follow-up hit, “Everybody Dance,” in early 1978.

At this point, Wright left to try her hand at a solo career (with assistance from Rodgers and Edwards), and was replaced by Luci Martin. It was a good time to come onboard; “Le Freak,” the first single from sophomore album C’est Chic, was an out-of-the-box smash, spending five weeks on top of the charts toward the end of 1978 and selling over four-million copies (which made it the biggest-selling single in Atlantic’s history). Follow-up “I Want Your Love” reached number seven, cementing the group’s new star status, and C’est Chic became one of the rare disco albums to go platinum.

1979’s Risqué was another solidly constructed LP that also went platinum, partly on the strength of Chic’s second number one pop hit, “Good Times.” “Good Times” may not have equaled the blockbuster sales figures of “Le Freak,” but it was the band’s most imitated track: Queen’s number one hit “Another One Bites the Dust” was a clear rewrite, and the Sugarhill Gang lifted the instrumental backing track wholesale for the first commercial rap single, “Rapper’s Delight,” marking the first of many times that Chic grooves would be recycled into hip-hop records. Also in 1979, Rodgers and Edwards took on their first major outside production assignment, producing and writing the Sister Sledge smashes “We Are Family” and the oft-sampled “He’s the Greatest Dancer.” This success, in turn, landed them the chance to work with Diana Ross on 1980’s Diana album, and they wrote and produced “Upside Down,” her first number one hit in years, as well as “I’m Coming Out.”

The disco fad was fading rapidly by that point, however, and 1980’s Real People failed to go gold despite another solid performance by the band. Changing tastes put an end to Chic’s heyday, as Rodgers and Edwards’ outside production work soon grew far more lucrative, even despite aborted projects with Aretha Franklin and Johnny Mathis. Several more Chic LPs followed in the early ’80s, with diminishing creative and commercial returns, and Rodgers and Edwards disbanded the group after completing the lackluster Believer in 1983.

Later that year, both recorded solo LPs that sank without a trace. Hungry for acceptance and respect in the rock mainstream (especially after accusations that they had ripped off Queen instead of the other way around), both Rodgers and Edwards sought out high-profile production and session work over the rest of the decade. Rodgers produced blockbuster albums like David Bowie’s Let’s Dance, Madonna’s Like a Virgin, and Mick Jagger’s She’s the Boss. Edwards wasn’t as prolific as a producer, but did join the one-off supergr

oup the Power Station along with Tony Thompson as well as Robert Palmer and members of avowed Chic fa

ns Duran Duran; he later produced Palmer’s commercial breakthrough, Riptide. Edwards also worked with Rod Stewart (Out of Order), Jody Watley, and Tina Turner, while Rodgers’ other credits include the Thompson Twins, the Vaughan Brothers, INXS, and the B-52’s’ comeback Cosmic Thing.

Rodgers and Edwards re-formed Chic in 1992 with new vocalists Sylver Logan Sharp

and Jenn Thomas, and an assortment of session drummers in Thompson’s place; they toured and released a new album, Chic-ism. In 1996, the reconstituted Chic embarked on a tour of Japan; sadly, on April 18, Edwards passed away in his Tokyo hotel room due to a severe bout of pneumonia. Rodgers continued to tour occasionally with a version of Chic, and, in 1999, his Sumthing Else label issued a recording of Edwards’ final performance with the band, Live at the Budokan. ~ Steve Huey, All Music Guide

http://www.nilerodgers.com/

May The Funk Be With You, Always !

Electrifying Mojo radio  shows ran during the late seventies to mid eighties on various Detroit radio stations including, WGPR (Where the show started and ran for years) , WJLB, WCHB, WHYT, WMXD, WTWR (Toledo) and WDTR. had several segments each night.

Although they would vary throughout the years, a typical Mojo night was:

• 10:00pm - The Landing of the Mothership. This was the intro to each show with spaceship sound effects and related dialog. Sometimes the music heard during the first hour was indicative of what you’d hear that night; sometimes it would be completely random.
• 11:00pm - Awesome ‘84, ‘85. In the mid eighties, Mojo would play an hour of brand new music (hence the year in the title) and a lot of new songs were introduced.
• 11:30pm - Lover’s Lane. A half an hour of “slow jams” for lovers.
• 12:00am - The Midnight Funk Association. Consisted regularly of Parliament-Funkadelic, the Gap Band, Zapp and other funk bands of the era.

The Midnight Funk Association Call To Order:

“Will the members of the Midnight Funk Association please rise. Please go to your porch light and turn it on for the next hour to show us your solidarity. If you’re in your car please honk your horn and flash your lights, wherever you are. If you’re in bed, get ready to dance on your back, in Technicolor. And get ready for the MFA. The word is… Don’t say no, say triple-whammy-whoa. Hold on tight, don’t let go. Whenever you feel like you’re nearing the end of your rope, don’t slide off. Tie a knot. Keep hanging, keep remembering, that it ain’t nobody bad like you. This session of the International Midnight Funk Association is being called to order. Electrifying Mojo presiding. May the Funk be with you. Always…”

From 1:00am to 3:00am (2:00 am on Saturday nights), Mojo’s show was different every night. Sometimes, the MFA would stretch well beyond 1:00am, other times Mojo would introduce segments such as:

• Star Wars - A classic “artist vs. artist” set, where Mojo would alternate selections from two different groups or artists, and the listeners would call in to vote for their favorite.
• Journey - Sometimes a multi-night segment, where Mojo would play songs by a single artist or group, spanning their entire career. This usually included a mix of hits and obscure songs by that artist.
• Shout-out - Everyone that called into the station during his show was the recipient of a “shout-out”. He would go on for as long as it took rattling off the first names of every single person who had called in to the show.
• 35-35-35 - Mojo would take suggestions from listeners about their favorite artists and bands. He then would choose the three most popular groups that night and play thirty-five minutes, commercial-free, of each group. This segment often gave airtime to groups that no other radio station in Detroit would play.

At other times, Mojo would spend the last 2 hours of his show showcasing live mixes on two turntables, by bringing in local DJs to do the same. One such DJ, Jeff Mills, began his career with Mojo as “The Wizard.” Mojo also would air music by local groups at this time.

Few artists have created a body of work as rich and varied as Prince. During the ’80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of groundbreaking albums; he toured frequently, produced albums and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince has shown remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres.

Occasionally, his music can be maddeningly inconsistent because of this eclecticism, but his experiments frequently succeed; no other contemporary artist can blend so many diverse styles into a cohesive whole.

Prince’s first two albums were solid, if unremarkable, late-’70s funk-pop. With 1980’s Dirty Mind, he recorded his first masterpiece, a one-man tour de force of sex and music; it was hard funk, catchy Beatlesque melodies, sweet soul ballads, and rocking guitar pop, all at once. The follow-up, Controversy, was more of the same, but 1999 was brilliant. The album was a monster hit, selling over three million copies, but it was nothing compared to 1984’s Purple Rain.

Purple Rain made Prince a superstar; it eventually sold over ten million copies in the U.S. and spent 24 weeks at number one. Partially recorded with his touring band, the Revolution, the record featured the most pop-oriented music he has ever made. Instead of continuing in this accessible direction, he veered off into the bizarre psycho-psychedelia of Around the World in a Day, which nevertheless sold over two million copies. In 1986, he released the even stranger Parade, which was in its own way as ambitious and intricate as any art rock of the ’60s; however, no art rock was ever grounded with a hit as brilliant as the spare funk of “Kiss.” Read the rest of this entry »

A favorite way to start the MFA was with one of many Parliament tunes.

Inspired by Motown’s assembly line of sound, George Clinton gradually put together a collective of over 50 musicians and recorded the ensemble during the ’70s both as Parliament and Funkadelic. While Funkadelic pursued band-format psychedelic rock, Parliament engaged in a funk free-for-all, blending influences from the godfathers (James Brown and Sly Stone) with freaky costumes and themes inspired by ’60s acid culture and science fiction. From its 1970 inception until Clinton’s dissolving of Parliament in 1980, the band hit the R&B Top Ten several times but truly excelled in two other areas: large-selling, effective album statements and the most dazzling, extravagant live show in the business. In an era when Philly soul continued the slick sounds of establishment-approved R&B, Parliament scared off more white listeners than it courted.

By the time his on-the-move family settled in New Jersey during the early ’50s, George Clinton (b. July 22, 1941, Kannapolis, NC) became interested in doo wop, which was just beginning to explode in the New York-metro area. Basing his group on Frankie Lymon & the Teenagers, Clinton formed the Parliaments in 1955 with a lineup that gradually shifted to include Clarence “Fuzzy” Haskins, Grady Thomas, Raymond Davis, and Calvin Simon. Based out of a barbershop backroom where Clinton straightened hair, the Parliaments released only two singles during the next ten years, but frequent trips to Detroit during the mid-’60s — where Clinton began working as a songwriter and producer — eventually paid off their investment. Read the rest of this entry »

Born James Ambrose Johnson, Jr. on February 1, 1948, in Buffalo, NY; died of a heart attack on August 6, 2004, in Los Angeles, CA. Singer. Rick James burst on the scene with his smash hit, “Super Freak,” in the early 1980s. He later had a string of hits and some believe his record sales are responsible for keeping Motown Records solvent. He is credited with bridging the gap between funk and punk music. His sound was reminiscent of Sly Stone, Parliament, The Ramones, and Prince (whom he toured with before either was famous). According to CNN.com, James had stated, “I’m trying to change the root of funk, trying to make it more progressive, more melodic, and more lyrically structured.” His rowdy image and drug habit led to his arrest for assault and eventual time in prison. After his release, he began to regain all that he lost.

James’ upbringing was rough. He was one of eight children born to James and Mabel Johnson. According to James, his father was abusive and abandoned the family when James was eight. James’ mother was a former dancer who worked as a housekeeper, but also was a numbers runner. Though James went to Catholic school and was an altar boy, he also committed petty theft crimes, and spent some time in juvenile detention centers. He also began doing drugs. While James was always musically inclined, it was not until he performed in a talent show in high school that he seriously considered a career in music. He formed a group called the Duprees. At the same time, he joined the Naval Reserve to avoid the draft. As he and his group gained popularity—and more importantly, gigs—he began to skip out on his naval duties. James was soon drafted, but he fled to Canada. Read the rest of this entry »

There was always anticipation at the beginning of the Midnight Funk Association.  During the call to order, Mojo would frequently play the themes from “Superman” , “Star Wars”, and Close Encounters” as background while he called the MFA to order and swore in new members.  The first song of the MFA generally set the pace for the rest of the hour, and many times the rest of the show.

Known for playing “B” sides and breaking new music, The Electrifying Mojo has over his years on the air, kept a diverse style of music for his loyal following.  The MFA iMix, available for download on iTunes, is 15 tracks of some of the most popular and memorable hits played at 12 a.m. during the Midnight Funk Association’s glorious rein over Detroit Airwaves.

An outlandish, in-your-face stage presence, a strange sense of humor, and a hard-driving funk sound that criss-crossed a few musical boundaries earned Cameo countless comparisons to Parliament/Funkadelic in their early days. However, Cameo eventually wore off accusations of being derivative by transcending their influences and outlasting almost every single one of them.

Throughout the ’70s and ’80s, the group remained up with the times and occasionally crept ahead of them, such that they became influences themselves upon younger generations of R&B and hip-hop acts. By the time the group’s popularity started to fizzle in the late ’80s, a series of R&B chart hits — ranging from greasy funk workouts to synthesized funk swingers to dripping ballads — was left in their wake. Further separating Cameo from their forebears, they didn’t have a diaper-clad guitarist. Instead, they had a codpiece-wearing lead vocalist.

That vocalist was Larry Blackmon. In 1974, the ex-Juilliard student and New York City club-goer instigated a funk band with a membership of 13 called the New York City Players. Blackmon, Tomi Jenkins, and Nathan Leftenant formed the group’s nucleus. The Casablanca label signed the group to their Chocolate City offshoot, and shortly after that, the group changed its name to Cameo. Their excellent debut album, 1977’s Cardiac Arrest, was highlighted by four singles. Three of those hit the Billboard R&B chart: “Rigor Mortis” (number 33), “Funk Funk” (number 20), and “Post Mortem” (number 70). Although the group was clearly inspired by elder funk groups like Parliament, Funkadelic, and the Ohio Players, Cardiac Arrest made Cameo’s case for belonging in the same division an open-and-shut one.

In an attempt to keep the ball rolling, 1978 saw the release of Cameo’s second and third albums. Neither We All Know Who We Are nor Ugly Ego were as solid as the debut, but the group’s singular characteristics were becoming increasingly evident. The winding, horn-punctuated “It’s Serious” (from We All Know Who We Are) narrowly missed the Top 20 of the R&B chart, while “Insane” (from Ugly Ego) dipped just inside it, peaking at number 17. The best halves of these two albums would’ve made a fine sophomore LP.

1979’s Secret Omen, featuring a disco-fied re-visiting of Cardiac Arrest’s “Find My Way” and the magnificently funky and slightly loony “I Just Want to Be” (a number-three R&B chart hit), was stacked with fine album cuts and brought Cameo back as a group that excelled in the LP format. “Sparkle” was one of their best ballads, a sinewy number that hit the Top Ten. Five albums released between 1980 and 1983 (Cameosis, Feel Me, Knights of the Sound Table, Alligator Woman, Style) brought about a slight dip in quality on the album front. Despite an abundance of filler on each record, none of those albums were strict disappointments, delivering hot Top 20 R&B singles like “Shake Your Pants,” “We’re Goin’ Out Tonight,” “Keep It Hot,” “Freaky Dancin’” “Just Be Yourself,” “Flirt,” and “Style.”

One of the most significant ripples in Cameo’s time line came during that period, in 1982, when they packed up and set up shop in Atlanta. Pared down to a quintet and located in a less hectic city, the group became bigger fish in a smaller pond. Blackmon even started his own label, Atlanta Artist. The label’s first LP, Style, also marked a significant shift in sound, with synthesizers taking on a pronounced role. Paydirt was struck with 1984’s She’s Strange; the title cut, a late-night slithery smolder, topped the R&B chart and eclipsed the Top 50 of the pop chart, kicking off a remarkable three-album run that made Cameo one of the most popular groups of the ’80s. Single Life and Word Up!, released respectively in 1985 and 1986, continued the hot streak. The singles from those two albums — “Attack Me With Your Love,” “Single Life,” “Word Up,” “Candy,” and “Back and Forth” — held down the Top Five plateau of the R&B chart. “Word Up” even went to number six on the pop chart, giving them their biggest bite of the mainstream. The song was everywhere.

What goes up must come down, and that’s exactly what happened to Cameo. Despite the fact that two more singles — “Skin I’m In” and “I Want It Now” — scaled up to number five on the R&B chart, neither Machismo nor Real Men Wear Black performed well as albums. After 1991’s Emotional Violence, the group’s profile was lowered significantly, but they did tour sporadically to the delight of hardcore fans as well as plenty of misguided people who thought Cameo was all about “Word Up” and nothing more. Notably, Blackmon spent a few years of the ’90s at Warner Bros., as the vice president of A&R.

Cameo’s presence continued to be felt throughout the early 2000s, not only through extensive sample use and less tangible influences upon younger artists and producers. Several retrospectives have kept the group’s music alive: Casablanca’s 1993 compilation The Best of Cameo is an excellent point of entry. Mercury’s 12″ Collection & More, released in 1999, covers the group’s best dancefloor moments. 2002’s spectacular Anthology, a double-disc set also released by Mercury, covers a lot of ground and does the group justice as a total package. ~ Andy Kellman, All Music Guide

CAMEO Will Blow Your Mind 1978 POSTER AD for UGLY EGO

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Purchase Cameo CD’s in the MFA Music Store/ Powered by Amazon

This an older interview about the origins of Detroit House and Techno with Mike Clark, Norm Talley,and Delano Smith. It talks about how things got started back in the day, and discusses how instrumental Mojo was in breaking a lot of Detroit’s Dance Music to the world and how influential he was to the DJ’s that helped start it all.

DETROIT BEATDOWN By Dan Bean, Posted on DJ History

Ask music lovers what Detroit means to them and you’ll probably hear mention of Berry Gordy or Norman Whitfield, perhaps George Clinton or Yusef Lateef. Were you to point out that there’s a direct link between these styles and the pared down machine funk of the city’s latter day sound (known by some as techno), you could safely expect puzzled looks from all but the most dedicated fans.

Yet there is a link, forged in the high school social parties of the 70s and the clubs and radio shows of the 80s by a few key figures. These musical visionaries led their dancers and listeners from disco, via hi-nrg and italo through to the earliest drum machine tracks; all the while introducing a dose of the left field influences that help to give Detroit its unique sound.

This sound, or maybe this ‘feeling’, is known as Beatdown and owes a great deal to the eclectic, boundary defying styles of DJs such as Ken Collier and the radio presenter Electrifyin’ Mojo.

The modern inheritors of this style are the present day Beatdown DJs of Detroit. Three in particular have channelled the vision of the godfathers of Beatdown, both through their DJing and the release of documents such as the Detroit Beatdown Volume 1 compilation.

They are Mike Clark, Norm Talley and Delano Smith.

The day after Detroit’s annual electronic music festival we met to talk about the origins of their music, the advent of drum machines and the story of DJing in an era that pre-dated labels such as house and techno. Read the rest of this entry »

Was (Not Was) play contemporary R&B dance music, with lyrics that range from the satiric to the bizarre. The group is led by Detroit natives David Weiss (David Was), who plays flute and writes those lyrics, and Don Fagenson (Don Was), who plays bass and writes music, but the group is fronted by singers Harry Bowens and Sweet Pea Atkinson.

Was (Not Was) first gained notice for a dance single called “Wheel Me Out” in 1980. Their first album, Was (Not Was) (1981), did not reach the charts, but its follow-up, Born to Laugh at Tornados (1983), did with “Out Come the Freaks” . Then little was heard from the group for five years. They returned in 1988 with What Up, Dog?, which featured the number 16 hit “Spy in the House of Love” and the number seven hit “Walk the Dinosaur.” (During this period, Don Was had become a prominent record producer, handling the board for Bonnie Raitt’s Grammy-winning Nick of Time, among many other mainstream pop records.) The fourth Was (Not Was) album, Are You Okay?, appeared in 1990. Are You Okay? wasn’t as commercially successful as the previous What Up, Dog?

After the album’s release, Don Was continued to pursue his production career, which began to increase tensions between Don and David. In 1993, they parted ways but returned 15 years later with Boo!, an album featuring several Was (Not Was) vets, including Bowens, Atkinson, Wayne Kramer, David McMurray, and Luis Resto. ~ William Ruhlmann, All Music Guide

Edited: The Group also released a personal favorite, Mutant Disco and my favorite track on the album, “Tell Me That I’m Dreaming“.

Purchase Was (Not Was) CD’s in the MFA Music Store / Powered by Amazon

One of the most underrated funk groups of the 1980s, Zapp revolutionized the computer pop of electro with their trademark vocoder talk boxes and bumping grooves, emulating the earthier side of Prince and Cameo, with a leader in Roger Troutman who was more than efficient at polished production.

The family group, with brothers Roger, Lester, Larry, and Tony Troutman, grew up in Hamilton, OH, influenced by hometown heroes the Ohio Players as well as Parliament and other funk groups. Tony was the first to begin recording, with an obscure single for Gram-O-Phon Records, “I Truly Love You,” which scraped the R&B charts in 1976. Joined by his brothers (with Roger on vocals and guitar, Lester on drums, Larry on percussion, and himself contributing bass) and christened Zapp, the group played around the Midwest and gradually picked up backing vocalists (Bobby Glover, Jannetta Boyce), keyboard players (Greg Jackson, Sherman Fleetwood) and a horn section (Eddie Barber, Jerome Derrickson, Mike Warren).

Zapp’s following quickly gained notices, and Bootsy Collins himself was hired on to work with the group on their debut album. Released in 1980, Zapp hit the Top 20 on the pop charts, thanks to the single “More Bounce to the Ounce.” The following year, Roger worked on Funkadelic’s The Electric Spanking of War Babies and released his solo debut album, The Many Facets of Roger. His special cover of “I Heard It Through the Grapevine,” complete with vocoderized talk box, pushed the album into gold territory (as Zapp had done). Zapp II appeared in 1982 and proved just as popular as the group’s first, including Zapp’s only number one R&B single, “Dance Floor.” Read the rest of this entry »

The first major hit for the Gap Band was a snazzy juke toon called “Shake.” Just prior to the completion of their first album, Charlie Wilson cited the song for his brothers, thinking they might ridicule the lyric. His brothers loved it though, and the song was a smash number four single on the R&B charts, elevating the group to national status.

Born and raised in Tulsa, OK, the Wilson brothers began singing and playing in their father’s Pentecostal church, and it was also mandatory they practice their music lessons at home as well. They learned various instruments which primarily included the piano. As much as they despised the lessons at the time, it proved to be a value tool for all three. Read the rest of this entry »

Growing up in Detroit in the 80’s, music was a big part of my life.  I was a big fan of Detroit and Chicago House and Detroit Techno growing up and frequented may parties throughout high school, just to hear the music.

The Electrifying Mojo is a Detroit icon for so many of us who grew up in that era.  I can remember as far back as junior high, staying awake in my bed with my little round, white Sony radio, with the cassette deck under the covers down real low just so that I wouldn’t miss an episode of Mojo’s radio show on WGPR (106.7 FM) , and especially the Midnight Funk Association.

It was like some sort of Hypnotic ritual that no matter what, I had to be tuned in at midnight to hear the “call to order” eagerly anticipating the first tune played after the MFA opening ritual.  What would it be ? ” Get it up” by The Time, “Flashlight” by Parliament,  the “Mesopotamia” by the B-52’s, (remix), “Time, Space, Transmat” by Model 500, “Numbers“ by Kraftwerk, “Something In the Water Does Not Compute” by Prince, or any number of bad asses songs that would have me dancing in the bed, bopping my head, and all of my friends talking the next day about what song Mojo led off the MFA with.

Mojo turned me on to music that I never would have heard listening to the tired R&B stations in Detroit at the time, and opened my mind to exploring music just because it was good, and not just because it was labeled R & B.

Radio stations of the time were pretty simple…if you were white you listened to the rock or classic rock stations, and if you were black you listed to the “black” stations.  Nobody ever mixed it up and just played good music no matter what color the artists were, until Mojo.

For years in my life, all of the music that I owned were a direct result of having heard them through Mojo’s radio show.  I saw Parliament /Funkadelic at Cobo Hall, because Mojo turned me on to all of the songs, not just the “radio” stuff.  I saw Prince many times, and knew all the songs on his album, B-sides and all.

But what Mojo really turned me on to was Detroit Techno and House Music before it was known or fashionable to play it.  “Cosmic Cars” by Cybotron was my anthem, and I have been a House, Techno and Trance Music junkie ever since.

Alan Ester, Derrick May, Juan Atkins, and Kevin Saunderson woke up my music senses on The Electrifying Mojo’s show.  One has to wonder if Detroit Techno and House would have ever gotten off the ground if he hadn’t made a home for it on his show, and look what it has spun off into and become today.

Mojo would play the music just because it was good, something that other radio programmers just couldn’t grasp, and never have up until today.

This tribute site is a direct reflection of how listening to Mojo at midnight affected me and my outlook on the world, and my thirst to learn about other people, cultures and gave me an appreciation for music that people who were raised on commercial,  force fed,  top 40 radio, will never understand.  Too bad for them.

Harold E Mansfield IV

Webmaster / Editor

www.midnightfunkassociation.com

www.124bpms.com

Managing Editor and Webmaster

www.4thinternet.com

Guitarist/vocalist George Johnson and bassist/vocalist Louis Johnson formed the band Johnson Three Plus One with older brother Tommy and their cousin Alex Weir while attending school in Los Angeles. When they became professionals, the band backed such touring R&B acts as Bobby Womack and the Supremes. George and Louis Johnson later joined Billy Preston’s band, and wrote “Music in My Life” and “The Kids and Me” for him before leaving his group in 1973.

Quincy Jones hired them to play on his LP Mellow Madness, and recorded four of their songs, including “Is It Love That We’re Missing?” and “Just a Taste of Me.” Jones took them on a Japanese tour, then produced their debut LP, Look Out for Number 1, after they signed with A&M, which was also his label at the time (1976). They scored a number-one R&B and number-three pop hit with “I’ll Be Good to You,” and enjoyed R&B chart toppers in 1977 and 1980 respectively with “Strawberry Letter 23″ and “Stomp!,” while sustaining a consistent hit presence via such songs as “Get the Funk Out Ma Face” and “Runnin’ for Your Lovin.” Jones remade “I’ll Be Good to You” in 1989 with Ray Charles and Chaka Khan on his Back on the Block release.

The Brothers earned platinum records for Look Out for Number 1 and Right on Time. Jones produced both of these, along with their third and fourth LPs, Blam and Light Up the Night. The group produced its single “The Real Thing” in 1981. It reached number 11 on the R&B charts, and the Brothers had another hit with “Welcome to the Club” in 1982. They started doing separate ventures; Louis Johnson played bass on Michael Jackson’s Thriller LP and recorded a gospel album, while George Johnson worked with Steve Arrington. Leon Sylvers produced their mid-’80s return LP Out of Control; it didn’t equal their past success, but got them another R&B hit with “You Keep Coming Back” in 1984. They recorded Kickin’ in 1988, and co-wrote “Tomorrow” with Siedah Garrett for Jones’ Back on the Block in 1989. ~ Ron Wynn, All Music Guide

The Brothers Johnson BAND 35MM SLIDE PHOTO NEGATIVE

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First formed in the early ’50s, the Isley Brothers enjoy one of the longest, most influential, and most diverse careers in the pantheon of popular music — over the course of nearly a half century of performing, the group’s distinguished history spanned not only two generations of Isley siblings but also massive cultural shifts which heralded their music’s transformation from gritty R&B to Motown soul to blistering funk.

The first generation of Isley siblings was born and raised in Cincinnati, OH, where they were encouraged to begin a singing career by their father, himself a professional vocalist, and their mother, a church pianist who provided accompaniment at their early performances.

Initially a gospel quartet, the group was comprised of Ronald, Rudolph, O’Kelly, and Vernon Isley; after Vernon’s 1955 death in a bicycling accident, tenor Ronald was tapped as the remaining trio’s lead vocalist. In 1957, the brothers went to New York City to record a string of failed doo wop singles; while performing a spirited reading of the song “Lonely Teardrops” in Washington, D.C., two years later, they interjected the line “You know you make me want to shout,” which inspired frenzied audience feedback. An RCA executive in the audience saw the performance and when he signed the Isleys soon after, he instructed that their first single be constructed around their crowd-pleasing catch phrase; while the call-and-response classic “Shout” failed to reach the pop Top 40 on its initial release, it eventually became a frequently covered classic.

Still, success eluded the Isleys, and only after they left RCA in 1962 did they again have another hit, this time with their seminal cover of the Top Notes’ “Twist and Shout.” Like so many of the brothers’ early R&B records, “Twist and Shout” earned greater commercial success when later rendered by a white group — in this case, The Beatles; other acts who notched hits by closely following the Isleys’ blueprint were the Yardbirds (”Respectable,” also covered by the Outsiders), the Human Beinz (“Nobody but Me“), and Lulu (“Shout”). Read the rest of this entry »

At the dawn of the 1980s, Juan Atkins began recording what stands as perhaps the most influential body of work in the field of techno. Exploring his vision of a futuristic music which welded the more cosmic side of Parliament funk with rigid computer synth-pop embodied by Kraftwerk and the techno-futurist possibilities described by sociologist Alvin Toffler (author of The Third Wave and Future Shock), Atkins blurred his name behind aliases such as Cybotron, Model 500 and Infiniti — all, except for Cybotron, comprised solely of himself — to release many classics of sublime Detroit techno.

And though it’s often difficult (and misleading) to pick the precise genesis for any style of music, the easiest choice for techno is an Atkins release, the 1982 electro track “Clear,” recorded by Atkins and Rick Davis as Cybotron. He soon left the progressively album-oriented Cybotron to begin working alone, and released his most seminal material from 1985 to 1989 as Model 500 And while fellow Detroit legends Kevin Saunderson and Derrick May were known for their erratic output during the following decade, Atkins recorded much more during the 1990s than he had during the ’80s, soaking up new rhythmic elements from contemporary dance music but keeping his unerring, instantly recognizable sense of melody intact throughout.

As the electronic scene began looking back to the past to find musical innovators, Atkins was a name much-discussed and -anthologized, hailed as the godfather of techno. Born in Detroit in 1962 (the son of a concert promoter), Juan Atkins began playing bass as a teenager and then moved on to keyboards and synthesizers, after being turned on to their use in Parliament records. Two local DJs, Ken Collier and the Electrifyin’ Mojo, first introduced Atkins to a wide range of other synthesizer-driven bands — Kraftwerk, Telex, Gary Numan, Prince, the B-52’s — in the late ’70s. Read the rest of this entry »