My Favorite Line from Julius Caesar

 

Why, man, he doth bestride the narrow world
Like a Colossus; and we petty men
Walk under his huge legs, and peep about
To find ourselves dishonourable graves.
Men at some time are masters of their fates:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings. (1.2.135)

Though I have yet to read this masterpiece, I do love the above. It's an uplifting message of self-empowerment through recognition that the ultimate control of one's fate lies in one's own hands, not in the stars or with God(s).  

James Brown's Cold Sweat Meets Miles Davis's So What: The Jazz Soul of James Brown

You can definitely hear an influence of Miles Davis on James Brown's "Cold Sweat," which borrows the "So What" vamp for its own rhythmic genius. Maceo Parker and other members of Brown's band maintained some knowledge and ties to events in the jazz scene, much to the greater benefit of James Brown's music, which embraced funk for the late 1960s and 1970s while keeping an eye on the roots of funk, soul and jazz. According to the wiki page, the song's composer, Alfred Ellis, used the horn line from "So What" and Brown changed up the guitar line to make it funkier with some room for a drum solo and Maceo Parker's saxophone solo. Unlike earlier funk pieces by Brown prior to 1967, "Cold Sweat" is no longer rooted in a blues chord progression, instead, basing itself on a single chord, much like modal jazz and "So What." If you want to jam to a jazzy rendition, check this!The best version, unsurprisingly, remains Brown's original recording with the wailing sax of Maceo Parker and a little "funky drummer" Stubblefield. To hear Brown get down with a jazz orchestra conducted by jazz genius Oliver Nelson, check out these funky, jazzy, soulful songs: "This a Man's World," "For Once In My Life," "September Song," "That's My Desire," and "Your Cheatin Heart."  Brown was quite versatile, eh? He almost sounds like Joe Williams but with additional funk and soul instead of the blues.

Percy Mayfield's Please Send Me Someone To Love

Percy Mayfield's  original version of "Please Send me Someone To Love" may sound dated to 21st century ears with its entirely acoustic instrumentation and 1950s blues style with characteristic moaning and wailing horns, I actually prefer it to Sade's perhaps better-known cover. Sade's cover, which has more of a gospel or country-tinged initially, does benefit from her sultry, unique vocals. In truth, I prefer the horns against the strings or synthesizers used in Sade's version, though Sade's voice occupies the central place in the song with good reason. The quasi-reggae guitar licks would suggest perhaps a broader connection of Sade's rendition to broader Atlantic musical styles beyond blues, rock or jazz, and the saxophone solo is tolerable, too, playing solemnly and respectfully.

Heaven please send to all mankind,
Understanding and peace of mind.
But, if it's not asking too much
Please send me someone to love.

Show all the world how to get along,
Peace will enter when hate is gone.
But, if it's not asking too much,
Please send me someone to love.

I lay awake night and ponder world troubles.
My answer is always the same.
That unless men put an end to all of this,
Hate will put the world in a flame, (oh) what a shame.
Just because I'm in misery.
I'm not begging for no sympathy.
But if it's not asking too much,
Just send me someone to love.

Heaven please send to all mankind,
Understanding and peace of mind.
But if it's not asking too much,
Please send me someone to love.

Estelle's American Boy

For some reason, I actually like this song, though without Kanye's annoying rap verses it would likely be better. Oh well, everyone in pop and R&B likes to think they need a guest rapper for some reason, even when the rap lyrics are poorly penned and rapped and detract from a song's otherwise positive aspects. Anthony Hamilton's "Cool" is a good example, with the rap lyrics being largely unnecessary and taking away from Hamilton's vocals.

Take me on a trip, I'd like to go some day.
Take me to New York, I'd love to see LA.
I really want to come kick it with you.
You'll be my American Boy.

Res's How I Do

1. Golden Boys
2. They-Say Vision
3. 700 Mile Situation
4. Ice King
5. Sittin' Back
6. How I Do
7. If There Ain't Nothing
8. The Hustler
9. I've Known the Garden
10. Let Love
11. Tsunami

Res's 2001 album, How I Do, was largely slept on. I recall listening to it perhaps 3 or 4 years ago and mostly liking what I heard. Perhaps due to her taste for multiple genres, it was difficult to force her into the R&B box. Moreover, despite Santigold (unknown at this time except as a songwriter and producer) writing and producing much of How I Do, perhaps 2001 audiences weren't ready for a genre crossover album lacking typical R&B hooks, overdramatic singing, and, though Res is very good-looking, more sex appeal to sell her as a black woman R&B artist. From what I have read, some songs got airplay but her career never really took off as a mainstream artist, while today Santigold has achieved mainstream attention and appreciation. It's quite disappointing and revealing of a certain degree of racism in the music industry regarding categorizing and selling black women as products. Naturally, all women (and likely all artists with contracts with large labels) have to "sell-out" to a certain degree for enough investment and support, but Res maintained her integrity and unique music as a black woman who likes rock, as well as other genres instead of allowing herself to be pigeonholed into R&B and soul. Santigold was able to achieve that on a larger-scale in 2007 and 2008, despite earlier attempts to categorize her music as R&B solely due to her race. Perhaps Res just came too early, if this album were released in 2008 or 2009, perhaps she would've created shock waves. Think about it, we have Erykah Badu, Janelle Monae, and Santigold as black women artists who are not limiting themselves into solely pop or R&B categories, pursuing, to a certain degree, their artistic inclinations.

But I digress, as for the album itself, it's quite a unique listening experience. Perhaps my favorite track, "Golden Boys" features some hip-hop-styled drums, an interesting keyboard line and Res's unique, balanced voice engaged in a mix between casual talking and singing. Santigold's production comes out full-blown in the chorus, with strings, and layers of sound upon each other. The chorus is quite catchy and the quirky sound effects and beat likely made this quite unique back in 2001, but the lyrical content is particularly interesting: But then there're girls like me who sit appalled by what we've seen, We know the truth about you, Now you're the prince of all the magazines, That is a dangerous thing." Res keeps it real about "golden boys" who are not what they seem and offers an important warning. What I would like to know, however, is if Santigold or whoever wrote the song was thinking of a particular rapper or male artist who was the "golden boy"? Some have thrown out crazy suggestions that it was Mos Def, but I found no evidence of a relationship between Mos Def and Res or Mos Def and Santi. Again, it is hard to categorize or classify this song as R&B or perhaps a fusion of multiple styles, who knows? Like Santigold's later work, it is beyond simple classificatory schemes.

"They Say Vision" is another one of those hard-to-classify tracks, with some rockish guitar, bass, and an enigmatic keyboard riff. Undoubtedly, it leans more toward rock, which must have confused a lot of folks! Though not evincing signs of the punk music Santigold would record with Stiffed (here is an example of that era in her musical career), it's quite catchy and Res sings a poppy chorus. I believe this song got some radio, VH1, or MTV rotation, but was not R&B enough for many listeners. The drums and bass are on point, too. As for "700 Mile Situation," we see signs of Santi's interest in dub and reggae. Lacking the faster tempos and ska and punk elements in Santigold's future forays into dub on her Santogold, this slow-tempo piece with funk guitar riffs and an ethereal, un-R&B and non-rock sound. I don't know how one would classify it, but it's quite fascinating in its production while Res sings in her usual calm, restrained style. The guitars and "reggae-tinge" really keep this track interesting though, as do the interesting drums nearly 4 minutes into the song, right before it ends, almost like nyabinghi drums used by Rastarfarians.

Moving on, "Ice King" has a rocky hook and was apparently sampled by Nas. Res sings more in an R&B style with rock or perhaps funk-oriented guitar, particularly evident as a funkier track than I thought with R&B crooning in the chorus. The hip-hop drum production and very sparse atmosphere with strings outside of the repetitive guitar hook inevitably centers the piece on Res's voice. "How can we grow when we've only begun," indeed. An enjoyable piece with Santi's expert songwriting and/or production. "Sittin Back" on the other hand is full-out funk, with funky guitar, synthesizers, hip-hop drumming, and heavy bass. She also adopts a hip-hop-styled rapping-esque quality in the chorus, while still sounding very dark, minor, or otherworldly. Similarly dark funky hip-hop and R&B with what may be wah-wah guitars appeared elsewhere in the first decade of 21st century hip-hop and R&B, and Res even drops in a few niggas, too! This is perhaps the more conventional material from the album, though still a little 'out there' compared to most 2001 R&B releases. Likewise, "How I Do" is gloriously funky, grand, beautiful, and danceable. Res's voice soars and there is, though I forget the term, the use of her own voice recorded at different times and thrown together in the song, reminiscent of Marvin Gaye's similar technique. That bass! It's irresistibly funky! Santi, Res, whoever wrote this and produced it, well-done. To describe it succinctly, "How I Do" is glorious, beautiful, and funky."That's just how we do."

"If There Ain't Nothing" returns to mellow ground, with an interesting piano sample (presumably a sample, who knows). It's a little quirky and I am unsure what's going on in the production, though an electric guitar added to the mix recalls Res's interest in rock. It seems more indebted to rock, as the wailing electric guitar indicates, but I actually like it. The mellow, alternative sound surprisingly won me over, though I am biased in favor of Res's more conventional R&B and funk-oriented tracks on the album. The drums are deceptively simple in their arrangement, too, with some compelling rhythms thrown down. "The Hustler" is likewise a quirkier piece, but with some nice allusions to Wilson Pickett's "Engine Number 9," a funk classic recorded in Philadelphia, Res's hometown (or perhaps an allusion to Black Sheep's "The Choice Is Yours"). Her almost child-like rhyme in the chorus is quite moving, as well as the experimental touch of her voice reverberating in and out in the track. "Engine engine #9, you get your way or I'll get mine sure as the sun will shine each day." Quite interesting to hear, and perhaps the result of Santi's production and writing? It features all sorts of interesting sounds, fuzz, reverb, and, unfortunately, the youtube link messes up the audio, check this.

"I've Known the Garden" features a funky rockish beat, bluesy guitar licks and Res's unique vocals, accompanying herself through the production. "Bye-bye roses," indeed, this is quite funky, individualistic and the guitar is scratchy and interesting for incorporating that into the sample, adding a, once again, earthy and bizarre element. "Let Love" is also a little strange in the production style, using synthesizers for the introduction that sound ghastly yet attractive, while the funky hip-hop quality of drumming remains. The odd, catchy synthesizer returns for the chorus, creating a heavy atmospheric sound while Res's vocals attain an almost science-fictiony quality with such music in the background. However, the song still shows some R&B or neo-soul influences, in the keyboard, for instance, showing that Res and Santi were aware of developments or trends in R&B. Check this live version from a show in Brooklyn. I love Rastafari references in the lyrics as well as the chorus:

And when the sun runs out
No doubts left standing
(who knows if it'll go our way)
And when the sun runs out
No doubts left standing
(Insha Allah it'll be okay) 

"Tsunami" is "interesting" rhythmically and what sounds like a banjo is incorporated. Res sings more in a conventionally R&B smooth style here despite the strange, unexpected musical accompaniment. I am unable to describe what exactly is going on, but it's an interesting endeavor to sing in this style with this complex interplay of various sounds that may seem incongruent at times. As the title may suggest, there is something of a wave of sounds replicated in the production, concluding an otherworldly but compelling journey into alternative sounds of R&B in 2001. There is some signs of the style of Santigold here and though Res rarely engages in the "diva" female R&B vocalist, their collaboration led to nice hooks, interesting lyrical content, and a fascinating assortment of instruments and sounds for the production of the album. I shall purchase a physical copy of her How I Do just to endeavor to discover some of the sources for the samples. My favorite tracks of the album are "Let Love," "Golden Boy," "I Know the Garden," "The Hustler," "How I Do" for its unbelievable funkiness, and "If There Ain't Nothing." It would be interesting to hear her material with Talib Kweli and future projects, since her live performances on youtube incite interest. In addition, a Santigold track from the album was apparently removed before release, which may explain a non-existent or negative relationship between Res and Santi today, according to this article, which refers to Res as her "then friend."

Curtis Mayfield and Johnny Pate: A Critical Component of Brilliant Chicago Soul

I have come to the realization that I prefer Curtis Mayfield's work with The Impressions over his solo career because his 1960s output with The Impressions (as well as songs he wrote for other Chicago-based artists in the 1960s) featured orchestral arrangements by jazz bassist Johnny Pate. Pate, coming out of the jazz tradition, brought in jazz-based and popular music's hornfare, percussion styles (swinging drums, etc.) and tight, well-organized orchestral arrangements that emphasized an independent Chicago style, despite overall similarities to Motown's formula for success: funky or soulful lyrics and basslines, strings, horns, and pronounced rhythms in the backbeat. The successful fusion of Mayfield's songwriting and guitar lines (which definitely introduced rocksteady and reggae artists in the 1960s, who would similarly play chicken scratch and bluesy, melodic fills as rhythm guitarists for reggae groups in the 1960s and 1970s) with Pate's arrangements fused jazz, popular music, gospel, doo wop, soul, and blues for a compellingly simple, highly melodious style of Chicago soul that, like Motown, which grew from the same stew, remains timeless. Solo Mayfield focuses on funk with some jazzy funk soloing in saxophones and his own guitar style, but the vocal talent, drum rolls and swinging percussion shuffling with full orchestral accompaniment perfectly added an uplifting, majestic quality to Mayfield's compositions. For those reasons, the best of The Impressions for me invariably includes those songs best exemplifying the aforementioned qualities I see as arising from the influence of Pate's arrangements and Mayfield's songwriting. Enjoy the following songs, which in my opinion best illustrate that. Check out this video where Johnny Pate appears in the beginning discussing Mayfield's political work. And here for an example of Pate's work with a jazz group.

Long, Long Winter Mayfield's adorable melodic rhythmic guitar leads the song with appropriate brass from Pates, which adds an uplifting, agreeable tone to a song about a horrible love experience with a metaphor of a long winter. "Now that she's gone the days are not all it seems, My girl is gone from me, and my  heart's in misery, and it's a long, long winter for me." The drummer is on point throughout, though the video unfortunately ends too early. Bob Marley and the Wailers later covered this song but without the backing orchestra suffers in comparison.

It's All Over This song is a great example since the drum rolls, heavy bass, and what may be a violin and other strings adds that just necessary heavenly quality of multi-textured layers of sound to accompany Mayfield's lead vocals. The hornfare that plays call and response with itself is pure delight. "All the happiness we shared, but with her, it was like a shield, that has been plunged into the ground, so wide I cannot get around, that I got to explain, it's all over now."

I've Been Trying is a slow ballad about love that features the same winning combination. Mayfield's guitar plays a more prominent role here, while the horns and arrangement play call and response with Mayfield's and the the rest of the group's vocalization. "I've been trying to understand why, can I be your only man. Keep on trying" only serves to show off Mayfield's falsetto and additional vocalization. Lyrical beauty right here.

They Don't Know suffers from a masculinist discourse that plagued black nationalism, naming every sister as a "breeder." Nevertheless, it's funky, features lots of soul horn accompaniment, and a falsetto of Mayfield leading vocals. This suggests his later solo material through its fusion of socially conscious lyrics with funk. However, the necessary hornfare and strings emphasizes the song's Chicago soul debts to funky, jazz-inspired horns. At times it sounds like blues-soul legend Syl Johnson's "Different Strokes," which is a good thing, trust me. Intriguingly, Johnson also recorded some black uplift-oriented soul and funk, too, such as "Is It Because I'm Black?"

Miss Black America features a jazz introduction while a father talking to his daughter hears the latter say she wants to be Miss Black America when she grows up. Though released on Curtis's solo album, Curtis, the horns, strings, and vocals resemble his earlier work with Johnny Pates and other Chicago soul artists, such as The Impressions. Indeed, this is a good bridge connecting 1960s Mayfield with the Mayfield of the 1970s. The instrumental hornfare section also recalls Pates' arrangements, while Mayfield sings pro-black women lyrics. "Miss Black America, Miss Black America, we're so proud of you, Miss Black America, Miss Black America..." I don't think Pates played a role in this song, but perhaps I am wrong.

We're In Love Those drums, those horns, and Mayfield's guitar! "Cause we're in love, we're in love!" "When I saw her life come down so easy, she's so wonderful, I'm going to keep her no matter what come may."

Woman's Got Soul features Mayfield's guitar licks, moving harmony, and bursts of horn. Joe Williams later covered this with a jazz orchestra backing him, but it pales in comparison to Mayfield's voice, the back-up vocals from the rest of The Impressions, and this specific arrangement. "Now the woman that I hold, she's got to have soul..."

Don't Let It Hide  is my favorite Impressions jam, featuring lots of brass, great lyrics, and propulsive drums. "When you kiss me thrills go down my back, but I got a feeling that it's just an act." The brass is reminiscent of other songs, such as The Impressions' version of "Amen," but the horn accompaniment expertly emphasizes the song's message while the drums retain the funk. "Don't let it hide, don't let it hide, don't let it hide"

 Somebody Help Me is the only direct, obvious blues that I've ever heard from The Impressions. The bluesy guitar and vocals are well-matched by an at times overly loud horn section, but overall Mayfield's blues chops are admirable. That bass keeps everything in check while the horns sound like the typical jazz blues, until Mayfield plays a little solo on guitar. Lest we forget, The Impressions came from Chicago and that was the land of the blues and Chess, a famous blues-based recording label. "Somebody help me get out of this mood, somebody help me get out of this mood." Perhaps as a slightly extended piece with more room for additional instrumental solos then this would be even better.

 Um Um Um Um Um Um by Major Lance was composed by Mayfield and features Johnny Pates arranging, too. In contrast to most of Mayfield's work with The Impressions, a strong "Latin-tinge" is evident here, as well as in "Monkey Time." We have the winning combo of horns, percussion, gorgeous melody, and vocal talent for a work of triumph. The second song, "Monkey Time," features even more prominent horns and Curtis himself on background vocals. The Latin-tinge remains present but the drum rolls and swinging shuffle meshes with the orchestral arrangement. The "monkey time" refers to a dance, so this is one of those timeless R&B dance instruction songs. "Little Girl" also features Mayfield's vocals and songwriting talents, with likewise pronounced brass. " Pleae let me have a chance with you, I like to do the monkey, too!" An interesting disco version with violins and funky drumming by Linda Clifford is of interest, too.

Billy Butler's "Found True Love" epitomizes Chicago soul and Curtis Mayfield, too! The drummer swings, the orchestral jabs and shouts its brass into the song while the back-up vocalists are beautiful. Apparently this was co-wrote by Mayfield and Butler himself, and Butler is Jerry Butler's brother.

You'll Want Me Back by The Impressions features ethereal organ-playing, rolling, march-like drums, and a full orchestral while Mayfield sings lead. When those horns blow in and the chorus evokes Smokey Robinson's "You Really Got a Hold On Me" I go crazy. They're humming is on point and the organ solo is surprisingly tolerable with the complex sheets of sound created by the band. "Run on, baby, you're gonna cry, cry, cry, cry on, baby, but it's too late..."

Just Another Dance is another gem of Chicago soul with brilliant orchestral arrangement and Mayfield's irresistible falsetto. This is why I love The Impressions-era Mayfield more than his solo period, just as I prefer pre-afrobeat Fela Kuta over full-blown afrobeat Fela. The harmonization, exquisite melodies, and ochestral and jazzy arrangements and styles move me in a deeper way than funk can.

Gene Chandler's "Nothing Can Stop Me" is priceless Mayfield soul featuring great jazzy horn accompaniment. Like Ray Charles' soul music, the jazz influence in the horn section is great, though the rest of this song sounds like it could be a Motown release. "Please don't go, that's what they'll be saying, please don't go, well, I'm not playing." Beautiful, rolling drums, deceptively simple strings, and a propulsive rhythm reminds me of "Talkin' Bout My Baby," though the chorus here is not as strong.

Let It Be Me is straight-up doo wop with shuffling drums, intermittent horns, and the vocal caresses of Mayfield ("without your sweet love, what would life be?"). Though comparatively tame in terms of a sparser orchestral arrangement to highlight the vocals, the guitar of Mayfield gets a little time in.

"Emotions" just has a dark atmosphere where the horn arrangement perfectly captures. The drummer likewise contributes brilliantly to an outburst of emotional, burden-heavy heartbroken love. "Please let me cry..."

It's Alright is just built on the rolling drums and horns, whilst the skeletal licks of Mayfield provide a rhythmic foundation, too. Beautiful lyrics, danceable, soulful, and featuring brief blasts of brass, as well as moving handclaps, "It's Alright" is one of their top hits for a reason. The best good-time soul jam: "It's all right, have a good time Cause it's all right, whoa, it's all right." Again, Johnny Pates keeps it together.

I'm the One Who Loves You I am not quite sure what the drummer is doing here, but it's catchy, as well the chiming sound going off in the song. The drummer sounds like they're going at it, though, and the harmonizing by the group is brilliant. "I'm the one who loves you, I'm the one who loves, love me!"

Gypsy Woman My favorite version of a Mayfield original, the castanets, harmonization, marching drums, and light touch in the horns allows for Mayfield and the other singers' voices to sound more majestic and grand than usual, particularly the back-up vocalists. "She was a Gypsy woman, she was a Gypsy woman..."

I Need You "I don't wanna be happy with somebody else, when I know in my mind I'd be wasting her time, no need in fooling myself. And if you don't love me, why be concerned about the life I lead?" I love this, "I guess I'm just a stubborn fool, kinda hard-headed like a mule, but how do I love someone else when I need you, when I need you!" Amazing drums, appropriately grand horn sections, and Mayfield's unique guitar picking keeps this moving gem going. "And I guess I could be happy, that is if I was another man, but I need you, I need you, I need you. And I guess I'm just a stubborn fool, kinda hard-headed like a mule, but how do I love someone else when I need you, when I need you, when I need you!"

You've Been Cheating just screams Motown in the string arrangement and drums, but works well for The Impressions. The string arrangement sounds regal, the piano riff and undeniably moving drums fuse with the brass for a catchy rejoinder to the woman cheating on Mayfield. Another classic collaboration between Pates and Mayfield.

I'm Still Waiting Has that mellow beat, Mayfield guitar licks, harmonizing, light strings, and straight-ahead drumming with occasional rolls. The drummer makes things more interesting while the piano or keyboard adds depth to the piece in its occasional interjections in the chorus, though Mayfield's guitar maintains its central role. "I'm still waiting, and I'm here ready or not, wooo..." Plus belle, plus belle. Pattie LaBelle and the Bluebelles also recorded a cover, though more solidly grounded in the Philadelphia style with overdone strings, but nice to hear. In contrast to Mayfield's version, it soungs overly elegant and overdone, whereas Mayfield and Pates accomplished a more earthy feel without the glitz and schmaltz.

I Gotta Keep Moving (jazzy, horns, etc.) just has the blaring horns, swinging rhythms, soaring vocals, and prominent bass I need. I like to interpret this song as being about a man fleeing a lynching, or perhaps, if you will, even a runaway male slave who makes the decision to continue fleeing minus his wife and two sons. Bob Marley and the Wailers covered this beautiful song that, despite the serious and grave lyrical content, contains a message of uplift and perhaps latent social commentary on the concurrent Civil Rights Movement. Either way, it's quite beautiful and a great example of Mayfield and Pates collaboration as a bedrock of Chicago soul.

People Get Ready is truly timeless gospel-tinged piece with light orchestral accompaniment to the simple, civil rights, black pride spiritual uplift. Forever immortalized by Bob Marley's interpolation of the song's melody and lyrics for "One Love" "Is there a place for the hopeless sinner who would hurt all mankind just to save his own?" Those strings know their proper background role, just lightly adding another layer of complexity to Mayfield's guitar and the vocalists. "You don't need no tickets, you  just thank the Lord."

We're a Winner has that gospel-tinged sound that I love from Mayfield, with a gospel-laced piano vamp. The drummer plays some funky beats, Mayfield's guitar skills also hint at his future funk-oriented compositions, and the the orchestral arrangement seamlessly contributes to the empowering black anthem. "We just gonna move on up, Lord have mercy, we're moving on up, we just keep on pushing, we're a winner, oh baby, everybody, we're moving on up, we're a winner!" Not particularly jazz-influenced as other works, I am also unaware if Pates played a role in this one. The strings know their proper place, for momentary accompaniment and accenting of the generally funky piece, courtesy of Johnny Pates.

Keep On Pushing this version is particularly jazzy in its swing, horns, and the strings suggest moral righteousness, as well as the pianist. The soulful, jazzy refined sound obviously played well with the lyrics, offering spiritual and musical support for the Civil Rights Movement to "keep on pushing" for full equality and human dignity. "A great big stone wall stands there ahead of me, but I've got my pride, and I really want to say, keep on pushing. Halleluiah, Halleluiah, keep on pushing, keep on pushing. This is the version I am most accustomed to, which lacks the same sound, but again retains jazzy drumming, some brass, and Mayfield's spiritually-minded guitar lines. Such a beautiful song, "Keep on pushing!"

Talkin' About My Baby  is Mayfield at his best, playing melodic guitar licks while leading the vocal group. Meanwhile, Johnny Pates' arranged horn accompaniment is danceable, funky, and plays in response to the vocalists. It gives the tune a bouncy, classic status while sounding almost folksy or like gospel music. "I wanna talk about my baby, with her pretty smile, she's about to drive me crazy, makes my heart beat wild!" Mayfield's guitar licks just screams later styles of reggae rhythm guitar, no doubt largely due to the influence of the spectacular harmonies and sounds of Mayfield and The Impressions for Jamaican audiences in the 1960s. "When she walks that walk, I can't help but feel she's for real...talkin' about my baby."

Man Oh Man is the typical romantic fare of Mayfield's compositions with appropriately light orchestral arrangements by Pates, exploding in the chorus ("I wanna go there, again and again...) with loud horns. RIP Curtis Mayfield, and thank you, Pates, for your talent, too.

Thoughts on Season 4 of Community

The following contains some of my thoughts on the latest season of NBC's Community, which I am glad to see on the air, even without the comedic genius of Dan Harmon, the show's creator. I shall divide my thoughts on the season into separate categories, the "Good" and the "Bad."

Good:
Episode 6 where Troy and Annie working together as detectives is cute and hilarious, mainly Troy for contradicting every single thing Annie says and does. Surprisingly, Pierce (Chevy Chase) actually made me laugh with his character's ridiculous bigotry in the form of blackface and yellowface hand-puppets. In addition, I think my favorite episode of the season is the Freaky Friday parody where Troy and Abed switch bodies and Abed (or Troy, if you will) has to break up with Britta, which was relieving to me since the whole Troy-Britta relationship thing seemed too awkward and messed with the fengshui of the group, particularly the Abed-Troy relationship. Moreover, I think I can speak for everyone when I say that to see Jeff and Annie progress is most fans' dream, or perhaps even Abed and Annie. Regardless, I think it's nice for the show to respect the rules of sitcoms as laid down by Fry in Futurama: at the end of the show nothing really changes because audiences fear change and feel stupid when unexpected things occur. Indeed, Dean was on point throughout the episode and the rest of the season with his crossdressing antics and obsessive love for Jeff, even moving into the neighboring apartment to be closer to Jeff when the latter graduates! On the Freaky Friday episode he excessively states Jeff was "inside of him" because he pretended they could switch bodies, too, as Troy and Abed did when lights were flickered and they danced around a held DVD copy of Freaky Friday, which was priceless. Did I mention that on the Halloween episode Troy and Abed went as Calvin and Hobbes?!!! That said, this season, though far from the zenith of Community, was appreciable in value. Some episodes lacked the necessary jokes but Abed largely saved the show, as well as Annie, Jeff, Troy and the Dean. In fact, I love the Dean, his sexual obsession and love for Jeff was always a highlight as well as his costumes and cross-dressing.

In addition, Pierce's role was limited and the group socializes more and more without his character. I assume the feuds between Harmon and Chase carried over into this season despite the former's absence, so the writers gradually wrote him out of the show progressively until he graduates at the end of the season with Jeff. And did I mention the parody of the classic sitcom trope of two dates simultaneously? Abed was forced into attending two dances at the same time, same gym in Greendale with dates suggested from Shirley and Annie but eventually foolishly being too much of an Abed to realize the coat-check girl who was helping him keep up the masquerade was the one he should be dating. Oh, and "Intro to Knots" was hilarious with the group tying up their history professor at Jeff's Christmas party mainly for the ludicrousness of the whole episode, especially Abed enjoying real-life as if it were a film, per usual.

Bad:
Chang and Pierce were mostly annoying characters and the Chang sub-plot of working with the dean of City College against Greendale was obvious and a waste of time for the most part. It seemed like the writers were trying to keep Chang's character around for some of the crazy hijinks that he performed under Harmon's reign, although I personally never liked Chang's character except for the first season where he taught our heroes Spanish. When Chang had power in the classroom he could actually be funny, such as when he called Shirley and Troy sucio, or dirty. Also, the laughs were definitely down and even the "out-there" or more meta and fantastical elements of the old Community did not survive the transition to the "new" Community. Without Harmon's artistic vision and control, the show has tried more and more to become a "normal" sitcom in the hopes of increasing its mainstream audience yet in the process, loses too much of the wackiness of the world first crafted by Harmon.

I was also disappointed by the lack of enough airtime for Pierce's half-brother, played by Giancarlo Esposito. However, if the payoff is less Pierce, then I will accept it. A few of the episodes did not work very well nor were they the most humorous, such as the puppet episode, which was only interesting in their secret-sharing. Likewise, episodes such as "Alternative History of the German Invasion" was just plain uninteresting and not the most amusing, whereas "Advanced Documentary Filmmaking" tread on old-ground in a feeble attempt to follow in the footsteps of Harmon's Community without his guidance to ensure artistic continuity and integrity. Thus, some episodes in the season paled in comparison to older seasons, particularly when the show's producers endeavored to do a similarly themed episode from the past but fell a little short. It's just too different now, and even the characters seem a little different in NBC's pitch for mainstream success. When will networks learn to cherish and support the artistry of their original sitcoms instead of selling out for bucks in this cruel, heartless world?

My final thoughts on the season finale and the entirety of the season's run:
I actually liked it, though it wasn't anywhere near the heights of former season finales, though they tried to bring in paintball fights again. I caught the obvious Matrix allusions but I felt like there was another sci-fi/popular culture reference I missed throughout the season. I think I only liked it because of my great affection for the show's characters and the potential changes that will be introduced in season 5 now that Jeff is not a Greendale student. By the way, I like how, as Fry explains in Futurama, everything reverts back to the way it was with Troy and Britta breaking up. I felt that was awkward and just didn't go along well for most of the season, although I would've liked to see some progress between Jeff and Annie (everyone's favorite will they/won't they? couple in the series). As usual, Chang was largely annoying and not very funny as well as suffering from a seemingly pointless sideplot whereas Pierce was largely ignorable and the show's writers seem to be deliberately excluding him more and more from the show, perhaps to prepare for his complete absence in season 5? I read somewhere that Harmon may return in some capacity in the next season so getting rid of Pierce would be better for the show since Chase's relationship with Harmon in real life is so poor. Perhaps that's why the writers had him graduate at the last minute too, since that could then explain his absence in season 5. But I thought the season finale would have been better off as a serious farewell or perhaps a two-part finale with more development of an actual paintball fight across campus or just more displays of emotional bonds between Jeff and Annie, which, obviously, were alluded to in dark/evil Annie's statements regarding sex with evil Jeff. Oh well, though far from perfect, I still love the show and truly pray for six seasons and a movie.