March Artist of the Month: Ray Parker Jr & Raydio

Guitarist/songwriter/producer Ray Parker, Jr. had hits as Raydio (the million-selling Jack and Jill, You Can't Change That), Ray Parker Jr. and Raydio (Two Places at the Same Time, A Woman Needs Love [Just Like You Do]), Ray Parker Jr. (the number one R&B and pop gold single "Ghostbusters"), and co-wrote hit songs for Rufus and Chaka Khan (the number one "You Got the Love" from fall 1974) and Barry White ("You See the Trouble With Me" from spring 1976).

Born May 1, 1954, in Detroit, MI, Parker started out as a teenaged session guitarist playing on sessions recorded for Holland-Dozier-Holland's Hot Wax and Invictus Records whose roster listed Freda Payne, Honey Cone, Chairman of the Board, 100 Proof Aged in Soul, Laura Lee, and 8th Wonder. He'd also play behind the Temptations, Stevie Wonder, the Spinners, Gladys Knight and the Pips, and other Motown acts when they appeared at the Twenty Grand Club. In 1972, Wonder called Parker to ask him to play behind him on a tour that he was doing with the Rolling Stones. Parker thought it was a crank call and hung up the phone. Wonder called back and convinced Parker that he was the real deal by singing "Superstition" to him.

Later, Parker played on Wonder's albums Talking Book (1972) and Innervisions (1973). Moving from Detroit to Los Angeles, Parker got into session work playing on sides by Leon Haywood, Barry White, arranger Gene Page, and working with Motown producer Clarence Paul on Ronnie McNeir's 1976 Motown debut, Love's Comin' Down, and he appeared in the picnic scene in the Bill Cosby/Sidney Poitier comedy classic Uptown Saturday Night.

Deciding to become a recording artist, Parker got a deal with Arista Records in 1977. Not confident on his singing ability, he put together a band that included vocalist Arnell Carmichael, bassist/singer Jerry Knight (who later had his own solo hit with "Overnight Sensation" and as half of Ollie & Jerry and co-produced hits by the Jets), guitarist Charles Fearing, Larry Tolbert, and Darren Carmichael. However, on record, Parker played most, if not all of the instruments. Though after racking up hits, Arnell et al. were paid a retainer so they'd be available if Raydio had a hit record and needed to tour.

His first LP, Raydio, went gold, peaking at number eight R&B in spring 1978. The LP included the gold, number five R&B hit single "Jack and Jill" (lead vocal by Jerry Knight), "Is This a Love Thing," and the charting single "Honey I'm Rich." The hits continued with Ray Parker, Jr. and Raydio's gold, number four Rock On (the single "You Can't Change That" was number three R&B, number nine pop in the spring of 1979); the gold, number six R&B Two Places at the Same Time from spring 1980 ("Two Places at the Same Time" was number six R&B in spring 1980); and the number one gold record A Woman Needs Love from 1981 ("A Woman Needs Love [Just Like You Do]" -- the first song Parker sung all the way through without trading vocals -- held the number one R&B spot for two weeks and went number four pop in spring 1981). Then, as Ray Parker, Jr., The Other Woman held the number one R&B, number 11 pop spot in spring 1982 ("The Other Woman" was number two R&B for four weeks).

One of Parker's biggest hits and best loved songs, "Ghostbusters" was initially submitted for the background score of the Dan Aykroyd/Harold Ramis/Bill Murray/Ernie Hudson comedy. Director Ivan Reitman thought that the song should be released as a single.The "Ghostbusters" music video is one of the funniest and star-studded videos ever made (breakdancing Bill Murray style). "Ghostbusters" parked at the number one R&B spot for two weeks and the number one pop for three weeks on Billboard's charts in summer 1984. Around this time, Parker was sued by Huey Lewis for copyright infringement claiming that "Ghostbusters" was a rip-off of his recent hit, "I Want a New Drug." Lewis received an out-of-court settlement. Some others at the time thought that if anyone's attorney should have been contacting both Parker and/or Lewis, it should have been Robin Scott who recorded as M and had a 1979 number one pop smash with "Pop Muzik," which both "...Drug" and "Ghostbusters" sounded similar to.

Parker also wrote and produced hits for New Edition ("Mr. Telephone Man" -- Parker originally recorded this with Jr. Tucker for his 1983 self-titled Geffen album), Randy Hall ("I've Been Watching You [Jamie's Girl]," the refreshing "Gentleman"), Cheryl Lynn ("Shake It Up Tonight" from In the Night), Deniece Williams (the 1979 ARC/Columbia LP When Love Comes Calling, the 1981 Bang LP Brick, Summer Heat), and Diana Ross ("Upfront" from her 1983 RCA LP Ross).

Parker left Arista for Geffen then MCA before returning to Arista because of his relationship with Arista president Clive Davis.

by Ed Hogan, All Music Guide

February Artist of the Month: New Edition

New Edition's early, Jackson 5-inspired material made them the forerunners of two generations of teen pop (most of which was geared to white audiences). As they matured and progressed, they laid much of the groundwork for the fusion of hip-hop and R&B known as new jack swing. In fact, after New Edition drifted apart, all of its members had at least some significant success outside the group as part of the new jack movement, which helped ensure that their original incarnation would be remembered for much more than the bubblegum urban soul that made their name.

New Edition was formed in the Roxbury section of Boston, MA, by Ricky Bell, Michael Bivins, and Bobby Brown, who began singing together in 1978 while still in elementary school, hoping to perform for pocket cash. They eventually recruited friend Ralph Tresvant as a fourth member, and after winning a talent show in 1980, also added Ronnie Bell. More talent show victories followed, including a prestigious gig at the local Strand Theater, where they performed the Jackson 5's "The Love You Save." They were discovered by writer/producer/impresario Maurice Starr, who signed the group to his small Streetwise label in hopes of launching a Jackson 5 phenomenon for the '80s. "Candy Girl," a song Starr co-wrote for the group, was released as their first single in 1983, when the members ranged in age from 13 to 15. Despite a lack of major-label interest in the group, "Candy Girl" was a smash, topping the R&B charts. Their debut album, also titled Candy Girl, spawned two more R&B hits in "Popcorn Love" and "Is This the End?," and MCA offered the group a deal. Starr however, wanted the group to remain with Streetwise; New Edition summarily fired him as their manager and signed with MCA. Starr attempted to sue the group for their name, unsuccessfully claiming that "New Edition" actually referred to a whole new style of pop music he'd created. Starr of course, would go on to strike it rich with a similar concept, assembling a quintet of white teenagers he dubbed New Kids On The Block.


New Edition, meanwhile, released their eponymous MCA debut in 1984 and scored their biggest pop hit with the Top Five smash "Cool It Now," which ended with a short rap section. The Ray Parker Jr-penned "Mr. Telephone Man" soon became their third R&B chart-topper, and the group had reached full-fledged teen idol status. Yet they were growing up fast, as demonstrated on their next album, 1985's All for Love. Not only were their voices changing, but their material was becoming more adult, with harder-edged funk and more mature romantic ballads. Later that year, they also released a holiday album, Christmas All Over The World, and struck an endorsement deal with Coke. However, rumors of Brown's growing dissatisfaction proved true and he left for a solo career in 1986. Temporarily down to a quartet, the rest of the group recorded the covers album UNder the Blue Moon, a set of vintage doo wop and R&B numbers from the '50s and '60s; it produced a hit revival of the Penquins' "Earth Angel."


Brown'sreplacement came in the form of Johnn Gill, a deep-voiced friend of the group who'd been recording as a solo artist without much luck. Gill made his debut on the 1989 album Heart Break, which found New Edition working with star producers Jimmy Jam and Terry Lewis. The move paid immediate dividends, as they scored several R&B hits from the album, including the number one "Can You Stand the Rain." Meanwhile, Brown had become a superstar with his second album, the new jack swing landmark Don't Be Cruel. Feeling vindicated by Heart Break, New Edition split up to work on other projects. Gill returned to his solo career, with considerably more success this time around, and Tresvant also went solo. The remainder of the group teamed as Bell Biv DeVoe and wound up having greater success than anyone save Brown; their debut album, Poisen, was another new jack style-setter and Bivins' interest in developing new talent gave Boyz II Men their big break.


By the mid-'90s, new jack swing was giving way to new fusions of hip-hop and soul that were alternately more organic or aggressive. Although their status as innovators was secure, many of the New Edition splinter acts had a hard time keeping up and maintaining their career momentum. Thus, given their individually positive reputations, it made sense for the group to announce its triumphant reunion, with all six members participating in what was essentially an R&B supergroup. The public loved the idea; when the comeback album Home Again was finally released in 1996, it debuted at number one, and the first single, "Hit Me Off," was a smash, hitting number one on the R&B charts. The follow-up, "I'm Still in Love With You," was another big hit, and the group embarked on a blockbuster tour that, while popular, found relationships between some of the members fraying. After the tour, New Edition returned to their various prior projects, with the prospect of any future reunions looking dim. Those prospects increased significantly when it was learned that P. Diddy had signed the group to his Bad Boy label for the release of another comeback, 2004's One Love.

by Steve Huey allmusic.com

January Artist of the Month: The Bar-Kays

Initially a funky instrumental soul combo on Stax/Volt, the Bar-Kays were nearly destroyed when most of the band perished in the same plane crash that claimed Otis Redding. Amazingly, the Bar-Kays not only regrouped but prospered, evolving into a popular funk ensemble over the course of the '70s. They continued to score hits on the R&B charts through much of the '80s as well, making for a career longevity that no one would have predicted for Stax's formerly star-crossed number-two house band.

The Bar-Kays were formed in Memphis, TN, in 1966, growing out of a local group dubbed the Imperials. Modeled on classic Memphis soul instrumental outfits like the Mar-Kays and Booker T. & the MG's, the Bar-Kays originally included guitarist Jimmy King (not the famed bluesman), trumpeter Ben Cauley, organist Ronnie Caldwell, saxophonist Phalon Jones, bassist James Alexander, and drummer Carl Cunningham. Adopting a mutated version of their favorite brand of rum (Bacardi) as their name, the band started playing heavily around Memphis, and eventually caught the attention of Stax/Volt, which signed the sextet in early 1967. With help from house drummer Al Jackson Jr, the label began grooming the Bar-Kays as a second studio backing group that would spell Booker T. & the MG's on occasion. That spring, the Bar-Kays cut their first single, "Soul Finger," a playful, party-hearty instrumental punctuated by a group of neighborhood children shouting the title. "Soul Finger" reached the pop Top 20 and went all the way to number three on the R&B chart, establishing the Bar-Kays in the public eye (although the follow-up, "Give Everybody Some," barely scraped the R&B Top 40). Producer Allen A Jones began to take an interest in the group and became their manager and mentor; even better, Otis Redding chose them as his regular backing band that summer.

Unfortunately, disaster struck on December 10, 1967. En route to a gig in Madison, WI, Reddings plane crashed into frozen Lake Monona. He, his road manager, and four members of the Bar-Kays were killed. Trumpeter Ben Cauley survived the crash, and bassist James Alexander had not been on the flight; they soon assumed the heavy task of rebuilding the group. Adding insult to injury, the third and final single released by the original lineup, a cover of the Beatles' "A Hard Day's Night," was virtually ignored. Nonetheless, with Allen Jones' help, Cauley and Alexander assembled a new Bar-Kays lineup featuring guitarist Michael Toles, keyboardist Ronnie Gordon, saxophonist Havet Henderson, and drummers Roy Cunningham and Willie Hall. At first, their sound was similar to the original lineup, and they were used as the house band on numerous Stax/Volt recording sessions; they also backed Isaac Hayes on his groundbreaking 1969 opus Hot Buttered Soul. Still, they were unable to land a hit of their own, and Cunningham and Gordon both left the group in 1970; the latter was replaced on keyboards by Winston Stewart.

With 1971's Black Rock album, the Bar-Kays debuted their first-ever lead vocalist, Larry Dodson, and incorporated some of the psychedelic-inspired rock/funk fusions of Sly & the Family Stone and Funkadelic. After playing on Issac Hayes' hit Shaft soundtrack, Cauley and Toles both joined his backing band permanently, and were replaced by trumpeter Charles "Scoop" Allen and guitarist Vernon Bunch. This new lineup took a more mainstream funk direction, scoring a minor hit with a takeoff on Jimi Hendrix's "Foxy Lady" dubbed "Copy Cat." The follow-up, another good-humored goof on a recent hit, was "Son of Shaft," which in 1972 became the group's first Top Ten R&B hit since "Soul Finger." That summer, the Bar-Kays played a well-received set at Wattstax (the black answer to Woodstock), but it wasn't enough to keep their commercial momentum going, especially as Stax/Volt headed toward eventual bankruptcy in 1975.

Armed with new guitarist Lloyd Smith (who'd joined when Brunch left in 1973), new drummer Michael Beard, and trombonist Frank Thompson, the Bar-Kays signed with Mercury in 1976 and began the most commercially productive phase of their career. Writing most of their own material and using more synthesizers, their label debut, Too Hot to Stop, was a hit, powered by the smash R&B single "Shake Your Rump to the Funk." The group consolidated their success by opening for George Clinton's P-Funk machine on an extensive tour, and that loose, wild aesthetic was now a more accurate reflection of the Bar-Kays' brand of funk, although they were more easily able to bridge into disco. Follow-up Flying High on Your Love (1977) was the band's first gold record, and Money Talks — a Fantasy reissue of some previously unreleased Stax material — produced another Top Ten hit in "Holy Ghost" the following year. Drummer Sherman Guy and keyboardist Mark Bynum subsequently joined the band, and a string of hit albums followed: 1979's Injoy (which featured the Top Five R&B hit "Move Your Boogie Body"), 1980's As One, 1981's Nightcruising (which spawned two hits in "Hit and Run" and "Freaky Behavior"), and 1982's Propositions (more hits in "Do It (Let Me See You Shake)" and "She Talks to Me With Her Body"). All of those albums, save for As One, went gold.

In 1983, Sherman Guy and Charles Allen left the group, presaging a more commercial direction in keeping with the urban sound of the early '80s. 1984's Dangerous produced one of the group's biggest hits, "Freakshow on the Dancefloor," and a couple more R&B chart hits in "Dirty Dancer" and "Sex-O-Matic." Their sound was becoming derivative, however, and although the group kept recording for Mercury through 1989, the changing musical landscape meant that the hits dried up. By 1987, only Larry Dodson, Harvey Henderson and Winston Stewart remained; that same year, Allen Jones died of a heart attack, and the group scored its last R&B Top Ten hit with "Certified True." When their contract with Mercury was up, the Bar-Kays called it quits with 1988's Animal Dodson and original bassistJames Alexander put together a short-lived new version of the Bar-Kays for the 1994 album, released on the small Basix label.

(source: Steve Huey allmusic.com)

December Artist of the Month: Slave

In funk circles, the name Slave has become synonyms with thumping monster bass-lines. Although it's Mark Adam's bass that played the biggest part in creating their signature sound, it was Steve Washington and Mark "Drac" Hicks who founded the band in Dayton Ohio back in 1975. The group scored a major hit with their first single "Slide" in 1977 .... but it wasn't until vocalist/drummer Steve Arrington, along with Starleana Young and Curt Jones, joined the group in 78 that the classic line-up would be set. Slave dropped 3 consecutive classic albums from 79-81 with Just a Touch of Love, Stone Jam & Show Time. From these 3 albums comes the majority of the groups best songs (Watching You, Just a Touch of Love, Snap Shot, For the Love of You, Party Lites, Slizzlin' Hot, Wait For Me, etc)

During this same period Washington formed a side group along with Curt Jones and Starleana Young called Aurra. They would find mainstream success of their own with the hits "Are You Single" & "Make Up Your Mind". Aurra's membership would stay made up of the main 3 plus revolving members of Slave until the mid 80s when Washington had a falling out with Young and Jones. Washington held the rights to the name Aurra, which he offered to sell to the duo. Young and Jones instead took the name Deja and would go on to score a #2 hit with "You & Me Tonight" before Starleana Young went solo 1988.

Steve Arrington left the group shortly after touring behind Show Time and started work on his solo project. The result would be the 1983 hood classic "Steve Arrington's Hall of Fame Vol 1" which would yield the song "Weak At The Knees" .... one of the most sampled bass-lines of the early 80s. Arrington, now a born again christian, would follow with his sophomore release "Positive Power" in 1984. While this album received a lukewarm response sales wise, it was another outstanding effort creatively. In 1985 Arrington would enjoy his most commercial success with the cross-over hits "Dancing in the Key of Life" & "Feels So Real". His sound now watered down by pop success, Steve would release two more solo albums before finally retiring full time to his ministry in the late 80s.

Slave would continue to release albums a few years after these departures, although none would spawn any radio hits. A few members still tour under the name Slave but it hardly bares any resemblance to the super group that ruled the funk world during the late 70s/early 80s.

This month Reunion Radio will be bringing you the music of Slave and it's satellites. We'll be playing the hits like Watching You & Slide but will also dig deeper with album tracks and some of the group's later recordings. So with the holiday season fast approaching ... turn on your Party Lites and groove along with the sound of Slave.

November Artist of the Month: Teena Marie

No white artist has sang R&B more convincingly than Teena Marie, whose big, robust vocals are so soulful, that in her early days some listeners wondered if she was a light-skinned African-American. Marie grew up in west Los Angeles in a neighborhood that was nicknamed "Venice Harlem" because of its heavy black population. As a child performer, she appeared on an episode of the then hit TV series "The Beverley Hillbillies". In 1976 she signed with Motown Records as a back up singer and soon met her mentor Rick James, who ended up doing all of the writing and producing for her debut album of 1979, Wild and Peaceful. That LP, which boasted her hit duet with James, "I'm Just a Sucker for Your Love," didn't show Marie's picture -- so many programmers at black radio just assumed she was black. When her second album "Lady T" came out, much of the R&B world was shocked to see how fair-skinned she was. But to many of the black R&B fans who were eating her music up, it really didn't matter -- the bottom line was she was a first-rate soul singer whose love of black culture ran deep.

By her third album, 1980's gold "Irons in the Fire" Marie was doing most of her own writing and producing. That album boasted the major hit "I Need Your Lovin'," and Marie went gold again with her next album "It Must Be Magic" (which included the major hit "Square Biz"). "It Must Be Magic" turned out to be her last album for Motown, which she had a nasty legal battle with. Marie got out of her contract with Motown, and the case ended up with the courts passing what is known as "The Teena Marie Law" -- which states that a label cannot keep an artist under contract without putting out an album by him or her.

Switching to Epic in 1983, Marie recorded her fifth album "Robbery" and had a hit with "Fix It." In 1984, Marie recorded her sixth album "Starchild" and had her biggest pop hit ever with "Lovergirl." Though Marie had often soared to the top of the R&B charts, "Lovergirl" marked the first time she'd done so well in the pop market. Ironically, Marie was a white singer who had enjoyed little exposure outside the R&B market prior to "Lovegirl."

Three more Epic albums followed: 1986's "Emerald City" 1987's "Naked to the World" (which contained her smash hit "Ooh La La La"), and 1990's "Ivory". Unfortunately, Marie's popularity had faded considerably by the late '80s, and Epic dropped her. In 1994, the singer released "Passion Play" on her own Sarat label. Ten years later, she signed to Cash Money and released "La Dona" featuring assistance from Gerald LeVert & Rick James. Her most recent album "Sapphire" was released in 2006 and saw Teena return to form with a mix of steamy slow jams and mid tempo grooves.

In this month of thanks, Reunion Radio shows it's appreciation to the one... the only .... LADY T

(Bio elements lifted from allmusic.com)

Lover Girl (1984)

October Artist of the Month: Con Funk Shun

Con Funk Shun was formed by high-school classmates Michael Cooper and Louis "Tony" McCall, along with Karl Fuller, Paul "Maceo" Harrell, Dennis Johnson, Cedric Martin and Danny "Sweet Man" Thomas. All of them had been playing together since their high-school days in Vallejo, CA. Felton Pilate, also from Vallejo, joined the group after his band, a local rival, disbanded.

In the early '70s, the group was a backup band for the Soul Children with the name Project Soul. And when they weren't on the road with the Soul Children, they were creatively working with various Stax staff writers. In the mid-'70s, Project Soul made an effort to become a headliner, but they met dead-ends and little success. However, they found good fortune at Audio Dimensions, a Memphis recording studio owned by producer Ted Strurges. Around this time, he group named itself after the title of one of their instrumentals, "Con Funk Shun." During their three-year stint at Audio Dimensions, Sturges, besides owning the studio, was also Con Funk Shun's producer. Their association resulted in the group's first album, Organized Con Funk Shun.

As their sound developed, Pilate and Cooper emerged as the primary lead vocalists. Around the time their first album for Crankshaft Productions, Inc. was being recorded, the eighth member, MC and technician Dennis Johnson, left the group to attend seminary in California. By 1976, the group signed to Mercury, where they remained for ten years. Their first hit for Mercury was "Ffun," written by Michael Cooper as a tribute to the R&B/funk band Brick. One of the premiere party funk bands of its time, they also began recording ballads and instrumental tracks by the early '80s. Aside from being the primary musicians on all their albums, Con Funk Shun also contributed to each of their albums as writers, arrangers, and/or producers.

Burnin' Love, the septet's last album with Mercury, was recorded without their longtime musical center, Felton Pilate, who left the group in 1986 to become a successful producer. (Pilate eventually became the musical force behind MC Hammer) Melvin Carter, a frequent collaborator of Con Funk Shun, joined the group upon Pilate's exit, and that same year Michael Cooper left for a solo career. Con Funk Shun disbanded after their last album with Mercury, but reunited in the '90s, and began performing at festivals and concerts around the world. ~ Craig Lytle (allmusic.com)

Here at Reunion Radio we always have at least a few of their tracks in our rotation. But this month we're going to lay the jelly on extra thick. From classic hits like Chase Me & Ffun to fan favorite album tracks like Juicy and California 1, all the way to solo projects from Michael and Felton. We're covering it all. Con Funk Shun is flat out one of the most underrated bands in R&B history. Reunion Radio takes great pride & pleasure in bringing their music to you throughout the month of October.

Too Tight (1980)

I'm Leaving *Live* (audio only)

September Artist of the Month: Kashif

Kashif was born Michael Jones in 1959 in Brooklyn, NY. Later taking the name Kashif Saleem after converting to Islam in the late early 80s. His early career was as a keyboard playing for the moderately successful 70s funk/disco band BT-express. He left the group in 1980, to focus on his own songwriting and production work .

1981 Kashif formed Mighty M Productions along with Paul Laurence and Morrie Brown. Kashif's sound, whether he worked within the Mighty M Productions company or by himself, was characterized hypnotic rhythm guitar along with synth bass and heavy keys. Kashif had developed a signiture sounds that he would ride for more than half the decade.

His first taste of success came when he produced Melba Moore's album including the hit "Take my love". But his true break-out came when he wrote and co-produced the mega hit "I'm In Love" with Evelyn "Champagne" King.

He followed that up in 1982 when he produced and wrote another smash hit, Howard Johnson's "So fine". Kashif and his team were now turning heads in the R&B world as keepers of a new sophisticated uptown sound. He kept up his workman like approach by heading back into the studio with Melba Moore and emerging with "The Other Side of The Rainbow" then quickly following that up with a reteaming with Evelyn King on "Get loose". The later which included the brilliant "Love come down" one of the decades most beloved songs. In addition, Kashif worked as an assistant producer on High fashion's Popdisco debut album "Feelin' lucky" in 82 under Jacques Fred Petrus (best known for the group Change). Kashif wrote two tracks on their album including the catchy "Hold on".

In 83 he produced for the third time an album with Melba Moore "Never Say Never" including hits like "Keepin' My Lover Satisfied" and "Love Me Right". In addition to all his production work, Kashif finally found time to start work on his own album. Recording tracks in between his other projects, the self titled "Kashif" was released in the second half of 1983. It was a brilliant album with gems like "I Just Got To Have", "Stone love", "The Mood" and "Help Yourself to My Love". "The Mood" would win a Grammy for best R&B instrumental of the year.

It was also in 83 when Kashif joined forces with sax player Kenny Gorelick (who he would make over as Kenny G) and guitarist George Benson. Kenny G's "G-Force" album would launch him as one of the best known sax players of all time and "Inside Love (So Personal)" would put George Benson back at the top of the R&B charts . Kashif released his solo follow up "Are You The Woman" in 84. The album included such high powered guests as Al Jarreau, George Benson, Kenny G and a young unknown backup singer named Whitney Houston.

When Clive Davis was ready to launch the young Houston's solo career, he turned to Kashif. The first single was the Kashif song "You Give Good Love"

The second half of the decade would be hit and miss for Kashif. He scored his biggest solo hit ever with "Love changes" (a duet with Meli'sa Morgan) but many other projects and solo work wasn't charting the way much of his early work was.

Kashif took a hiatus from recording in 1990, devoting his time to holding seminars and conducting classes for aspiring performers about the music business but he couldn't shake his love of the studio. Because in 1998 he released "Who Loves You" on the UK label Expansion records exclusively for the UK. Although this album was never released in the US, some of these songs appeared on his 2003 state-side album "Music of My Mind".

During the month of September, Reunion Radio will celebrate a key architect of the 80s boogie sound. We'll bring you Kashif's & Mighty M's production work along with the best of his solo albums. So sit back, relax and enjoy the feel good grooves of the 80s mixed with few sweet sounds from recent years. September is Kashif month people ........ enjoy!

August Artist of the Month: Cameo

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 likeParliament, 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

We're Going Out Tonight (1980)

Flirt (1982)

New Music added this week:

Whateva U Want - Ivana Santilli
Triple Black Room - Joe
Take Me Home - Victoria White
Whole Lotta Kisses - R. Kelly
Relief - R. Kelly
Spaceship - Olivierdaysoul
I Fell - Noel Gourdin

July Artist of the Month: The Jackson Family

The Jackson's are without a doubt the most successful and influential family in American Pop Music history.

Born and raised in Gary Indiana, the Jacksons brothers were guided early in their careers by their father Joseph. He saw their potential and in 1964, he decided to form a group around his three eldest sons Jackie, Tito and Jermaine. But it wasn't long until younger brother Michael was added to the group after Joseph discovered his remarkable talent.

The family moved to Los Angeles shortly after the boys signed with Motown in the fall of 1968. It wasn't long before The Jackson 5 was one of the most popular groups in the world. Sisters Rebbie, La Toya and Janet along with the youngest son Randy would stay at home in LA with their mother Katherine while Joesph and the boys were on the road. Randy would replace Jermaine after he left the group to stay at Motown (He had married founder Barry Gordy's daughter) when Joseph took the boys over to CBS for a new more lucrative deal. Jermaine would go on to build a successful solo career as well as mentor other Motown groups such as the Bobby DeBarge lead Switch. (Bobby even dated La Toya for a while and is rumored to have inspired the Switch hit "I Call Your Name") Rebbie, La Toya and Janet would form a short lived group in the late 70s but it would stall almost immediately due to the sisters constant arguing. Around this same time baby sister Janet would try her hand at acting on the then popular sitcom "Good Times" before gaining some minor success with her first two solo albums. Rebbie married and faded from the spotlight for a while before reemerging in the mid 80s with the number one song "Centipede" (Produced by brother Michael). La Toyta (and her headband) would release a few mildly successful albums but eventually become know as the family's "black sheep" after a series of magazine layouts and tell all books.

Brother Michael had left the Jacksons in the early 80s and was now the biggest star in pop music history following "Off The Wall" (79) and the massively successful "Thriller" (82). The bothers tried to carry on without Jermaine and Michael but the public had little interest. Michael briefly rejoined his brothers in 1984 for the Victory tour and album but that was pretty much the last gasp for The Jacksons as group.

Janet would strike pay dirt with her third solo album "Control"(86). Produced by ex Time members Jimmy Jam and Terry Lewis, the album would remake Janet into a pop icon that would rule the charts for the next 15 years.

Michael & Janet alone have sold more records than any brother sister combo in the history of American music. Add the solo albums from Randy, Marlon, Jermaine, Rebbie, La Toya, The Jacksons & Jackson 5, and you have a run that will no doubt never be touched in our lifetime. July in Jacksons month at Reunion Radio. Let's all give it up for America's First Family of Music.

New Music added this week:

Body Rock - Dwele
A Few Reasons (Truth Pt. 2) - Dwele
Mr Sexy Boy - Chin Chin
TONY - Ivana Santilli
Hollywood (Nothing Over U) - Ivana Santilli
Imagination - The G

New Music added this week:

Like It - Raphael Saadiq Feat Stevie Wonder
Can't Do It - Chante Moore
Just For Me - Al Green
What's A Man To Do - Usher
You Know What - N.E.R.D.
Life - Hil St. Soul
Front Runna - Wayman Tisdale
Watch Me Play Again - Wayman Tisdale Feat Robert Wilson of The Gap Band

New Music added this week:

Fast Car - The Dream
Love Toy - Plantlife
So Over You - Ashanti
The Way That I Love You - Ashanti
Heavenly - Jennie Laws
Why Do We Try - Mint Condition

June Artist of the Month: Prince

Prince Rogers Nelson was born on June 7, 1958 in Minneapolis, Minnesota to Jazz pianist John L Nelson and Singer Matti Shaw. Named after the Prince Roger Trio, a jazz band in which his father was a pianist, Prince had a somewhat unsettled childhood that saw him moving in with a neighborhood family at 13. Prince would befriend their oldest son Andre Anderson (later known as Andre Cymone) and they would both join his cousin Charles Smith's band Grand Central. In 1977 Prince and Andre joined up with Pepe Willie's new band 94 East. Pepe, the husband of Prince's cousin, Shantel, had been influential in Prince's early career, mentoring and managing the young prodigy in his Grand Central days. Prince learned many of his production skills while working in the studio for Willie as a teenager. In 1977 94 East would record their first and only album. Prince wrote most of the songs as well as played guitar and keyboards. He was also the lead vocalist on the track "Just Another Sucker". The album was not commercially released at the time but would finally be made available for a short time in the mid 80s under the title Minneapolis Genius.

Shortly after the completion of the album, Prince was signed to Warner Brother Records and released For You in 1978. The first single "Soft and Wet" would become a minor success but would pale in comparison to what Prince would release over the next decade. His next 4 albums Prince (1979), Dirty Mind (1980), Controversy (1981), and 1999 (1982) would each raise the bar creatively as well as attract increasing controversy with their mix religious and overtly sexual themes. During this period, Prince directed his side projects The Time and Vanity 6 to mainstream success under the production alias Jamie Star. The 2 acts would join Prince on the Triple Threat Tour, a now legendary series of concerts running from the end of 1982 and into the summer of 1983.

In 1984 Prince would star in the semi-biographical motion picture Purple Rain. The movie and accompanying soundtrack would launch Prince to super stardom, rivaled only by fellow icon Michael Jackson. With Prince firmly established as a musical genius and mega star, Prince would begin to challenge his core audience with sounds and styles they were unaccustomed too. Around The World in a Day (1985) and Parade (1986) saw Prince depart from his Minneapolis Sound formula and mix and match multiple genres. Hits like "Raspberry Beret" and "Kiss" kept Prince front and center on the charts during this time. Some would say the pinnacle of his career would come with his next release Sign O The Times (1987). A masterful double album and concert film, SOTT is Prince bringing his 10 year career to a boiling point, showing off what he's learned and what he's going to be for the next two decades.

A label fight, name changes and copy write battles would define Prince in the 90s and into the 21st Century. But the foundation Prince built in the 80s sustains him to this day. The most dynamic performer of his generation, Prince regularly sells out wherever he performs. Most recently he sold out 21 straight nights at London's massive O2 arena.

In the month of Gemini, we here at Reunion Radio have fittingly picked the most famous Gemini of them all as our artist of the month. You'll hear the early stuff, 80s hits, 90s gems and newer cuts that proves Prince can still funk with the best of them. We'll also sprinkle in some the side projects like Vanity 6, The Time and Sheila E. June is Prince month y'all - - All hail his Royal Badness!

New Music added this week:

Something Special - Usher
This Ain't Sex - Usher
When Words Are Just Word - Icognito
Everyday - Lina
Endangered Species - Coultrain
The Girl Of My Dreams - Coultrain
Relief - Swade
Love Story - Mariah Carey
The Floor - Keith Sweat
Can I Keep U - Algebra

New Music added this week:

Amazing - Reel People
Insect Funk - Elmore Judd
Do You Wanna - Swade
Fire - Swade
Migrate - Mariah Carey Feat. T-Pain
Somthin' - Mint Condition
Got 2 Find A Better Way - Plantlife

New Music added this week:

Me And My Girl - Keith Sweat
Love You Better - Keith Sweat (Feat. Keyshia Cole)
Let Me Know - Angela Johnson (Feat. Eric Roberson)
I've Changed - Jaheim (Feat. Keyshia Cole)
Half Way - Algebra
Don't Go Around Looking For A Broken Heart - Planetlife
Agirllikeudeservesamanwhotreatsuhowulike - Planetlife

Album Review: Keith Sweat - Just Me (2008)

R&B icon Keith Sweat returns May 6th with his 10th studio album "Just Me". After 17 years with Elektra Records, the Harlem-born singer-songwriter brings his smooth grooves to Rhino. The album opens with a song called "Somebody", built around the classic Delfonics jam "La La Means I Love You". It's a nice mid-tempo groove but what makes this song most interesting is it marks the first time Sweat sings falsetto. While he's no Philip Bailey, Sweat does a more than serviceable job with the change in vocal style. Track #2 "The Floor" is another noteworthy cut in it reunites Keith with Teddy Riley. The two collaborated on the Sweat's 1987 debut "Make It Last Forever". The milestone album sold over 3 million copies and helped launch the New Jack Swing era of the late 80s/early 90s. "The Floor" kicks off with a classic Teddy/Keith keyboard sample but then switches into something that sounds more like Riley's Blackstreet work. Solid & enjoyable song, even if it doesn't rank with the very best of Riley/Sweat collaborations. The next couple songs are pleasant enough although not likely to be memorable. Track #5, "Butterscotch" seems to be a song the marketing people at Rhino are focusing on. The duet with Athena Cage (former Kut Klose vocalist) attempts to recapture the sound of their 1996 #1 hit “Nobody”. The fact I was not a fan of "Nobody" should be taken into account when I say, I really hate this song. "Butterscotch" is the type of cookie-cutter R&B that has so plague urban radio the last 10-12 years. The album gets back on track (briefly) with "Me & My Girl". Besides the slight hint of autotune, which is the worst trend going in R&B today (think T-Pain if you don't know what autotune is), this is the type of song that puts Sweat in the pocket. Good clean beat with a simple but pleasant melody. "Suga Suga Suga" with Paisley Bettis is another decent cut, even if it is a little too R Kelly-esq at times for my tastes. Of the remaining 5 songs, only the Keyshia Cole duet “Love You Better” is worthwhile. This is another song Rhino is hyping and is probably Keith's best shot at mainstream radio play. Keyshia is definitely one of the best "new school" female vocalists around now and compliments Sweat well on the track.

The BOTTOM LINE

I have to say the album is a bit of a disappointment. There are some nice cuts on here but none are in the class of his early work. All the songs in and of themselves are decent enough. But the album really suffers from a lack of quality and creative production (which doesn't make it much different than most mainstream R&B albums today). It would have been more interesting for Sweat and Riley to work together on most if not all of the tracks or had Keith take a left turn and go for something more soulful. But it seems Sweat is still playing the "hit-chaser" game that so many older artist get caught up in.

BUY or BURN

If you're a huge Keith Sweat fan or like the sound of current R&B slow jams, buy it. For everyone else this one's a burn.

The SCORE

4.5 (10)

May Artist of the Month: Alexander O'Neal

As the original lead singer of The Time (known then as Flyte Tyme) Alexander O'Neal would experience numerous set backs before finally breaking through as a solo artist with his 1985 self-titled debut. Joining forces with ex-band mates Jimmy Jam & Terry Lewis (as well as Monte Moir & Jellybean Johnson on various other tracks) Alex would become one of the top Male R&B vocalist of the mid to late 80s. Best known for his duets with label mate Charrelle, the two would help define what would be called The Minneapolis Sound. Alexander split from Jam & Lewis in the early 90s which marked the end of his days on the US charts. However O'Neal remained popular in the UK throughout the decade and into the next. Listing Minneapolis as his home, Alex spends a great deal of time in Britain where he still enjoys sold out tours and good record sales. In 2008 Alex released his 13th album "Alex Loves" a collection of standards including new versions of his own "If You Were Here Tonight" and "Saturday Love" (the duet hit with Charrelle) During the month of May, Reunion Radio will be bringing you the past and present music of Alexander O'Neal. From classic slow jams to Minneapolis Funk one thing is for sure ....... "It's gonna be kinda right" (c) Alexander O'Neal

Alexander O'Neal Live London Wembley Arena 1990

New Music added this week:

Lay It Down - Al Green Featuring Anthony Hamilton
I've Been Waiting - Incognito
Sumthin About Her - Plantlife
Your Love - Plantlife
Rollerskate Jam - Plantlife
Good Man - Tony Kurtis