DeBarge--Rhythm of the Night (1985)

     Three of the DeBarge boys, Randy, Mark, and El, had been bouncing around different groups in Grand Rapids MI throughout the 70's when deciding to join forces along with older sister Bunny. Their older brothers, Tommy and Bobby were in the group Switch, which had done well by late in that decade. Thanks to family friend (and Switch bandmate) Gregory Williams who sent a demo of the fledgling group to Berry Gordy Jr., The DeBarges were signed to Motown in 1979.
     They spent over a year traveling with Switch learning about the business, from a musical and business standpoint. It was in 1981, when Tommy and Bobby joined their siblings in recording their debut album. The next year, 18 year old brother James joined the group, and also reached the charts that year. This began a three year stretch where they racked up 5 top 40 hits and three top 40 albums including their biggest hit in 1985.
     "Rhythm of the Night" was written by Diane Warren which was included in the Motown produced movie, "The Last Dragon". It was a top notch year for the group, which drew four singles, two of them reaching the top 10. Unfortunately, it was also a peak for the group. Although the next album was mainly a vehicle for El, who was not only emerging as a star, but because of drug problems, was also one of the most reliable, but that would soon change as well. Bunny was offered a solo contract as well, and by the end of the 80's the group had disbanded. The travails of the family has been well documented, but for a three year period they were on top of the heap.    

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Dazz Band--Let It Whip (1982)

     The Dazz Band began it's life in Cleveland in the mid 70's as a jazz fusion band. They were first signed to 20th Century Records in 1978 as the band, Kinsman Dazz and it's first album by the same name was produced by Philip Bailey, who also co-produced their second disc, "Dazz" in 1980.
     By this time they had several songs on the R&B charts, and by 1980 had officially changed their name to "Dazz Band". This also came with a switch of labels as 20th century closed up shop, and the band was signed to Motown.Their first two albums with their new label produced three singles that reached the R&B charts, but it wasn't until 1982, and "Let It Whip" that the band reached it's peak on the R&B and pop charts (reaching #1 and #5, respectably).
     They continued to have success throughout the 80's, but outside of a couple of singles that reached the lower rungs of the hot 100, "Let It Whip" was about all of their influence on the pop charts.

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Commodores--Night Shift (1985)

    By 1985, The Commodores were limping along. The move towards a more middle of the road R&B sound had alienated their fans who were used to the straight up funk of Machine Gun, Brick House, and Too Hot Ta Trot. Those who were a fans of Lionel Richie's ballads had already abandoned ship for the most part as well. as he crafted a very successful solo career throughout the 80's. They had not had a top 40 hit in 4 years, since 1981's, "Oh No".
     Having been moved to write a song in honor of Marvin Gaye and Jackie Wilson who both had passed the year before, "Nightshift" is a brilliant song that far outshown what the group had been doing since Ritchie left, and except for a couple of R&B hits over the next couple of years, would never do again. Am not a fan of 1980's production value overall, but just like Phil Collins' "In the Air Tonight" and Joe Jackson's, "Stepping Out", the atmosphere of the song just lent an otherworldly feel that suited the lyrics perfectly. A more than fitting way for a band to bow out.

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Now...a place where you can hear the Bus on the Radio!!

You know....it's great to have friends here who can point out the obvious. I got a note yesterday from a fan who said, "I would have never known you were on the radio by looking at your blog". Lo and behold, he was right. The actual Bus website has a place to find our affiliates, but the majority of you don't go there. So if you look on the right, just under the archive, you will find all of the places during the week you can hear the bus, and a link to their website. Am attempting to work out legalities of having a podcast put on the site as well...but that's a ways into the future. Thanks for pointing out things like that...you guys are fantastic!! 

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We're now on Twitter!!

You want a daily update on what's going on with the bus? Well...we are now on twitter. Follow us at @rokandrollomnibus. Thanks!!

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R.I.P. ---Don Cornelius (1936-2012)

     My experience growing up with any minority groups were few. I lived in an area south of St. Louis Co., that was a lily white as any place could be. My high school had over 2,000 students and it was not until my last two years (1977/78) that other black (or any other hue) students could be found. My first real introduction to "the black experience" was found on late Saturday mornings on Channel 11, when I discovered, "Soul Train".
     It would be easy to attempt to compare "American Bandstand" to "Soul Train", and to a certain extent you would be correct. Chicago born Cornelius had been inspired to put together a show like 'AB", but with soul music instead. They also had the same effect on teens, but in different eras. Bandstand was most influential during the 50's and early 60's, when teenagers were just getting into  rock and roll, and found themselves influenced by styles that they saw dancers and singers wearing. TV (and especially their advertisers)  was also just learning about the power the medium had over teens as well. The influence was as much cultural as musical.
      By the time, "Soul Train" was first aired on August 17, 1970, times had changed. Don Cornelius saw black music going in a direction that was influenced much more by Memphis and later Philadelphia than the R&B influenced pop churned out by Motown. He also felt (correctly as it turned out), that black teens also needed to be influenced by their own sounds and styles. He was not only correct, but just like in the early 50's when white teens would get in their cars, out of earshot of their parents, and turn on the local R&B station, white kids from all over, would turn off AB and turn on Soul Train.
     I could never dance (still can't), but was wowed by the dances and the dancers on the Train. I learned about many artists that would have never been talked about in the halls of my school. It's also where my love for Philly Soul came to birth.....and where else would a white boy from the rural midwest learn about Afro-Sheen and Colt 45 Malt Liquor??
    The show itself went on without Cornelius from 1993-2006 as he was never much of a fan of hip hop or rap, and decided it was time to allow the show to led by a new generation. He passed away this morning of a self-inflicted gun shot wound in LA. There are not many in the media portion of popular music that earned the title of legend, but he has. Rest in Peace Brother Don...

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Bobby Brown--My Prerogative (1988)

     It's almost been a generation ago now, but once a upon a time, Bobby Brown was at the top of the musical heap in the late 80's/early 90's. At one point, he had 10 straight top 20 hits, and was seen as a pioneer of New Jack Swing, which was a hybrid of hip hop and R&B.
     Most people under the age of 21 has only seen the decline. It wasn't that his fall couldn't be predicted either. He was voted out of the group New Edition back in 1986 because the others felt his onstage (and offstage) antics would hurt their careers. However, for a 5 year period he was by far the most successful former member of that group. As his reign on the charts began to wain, his anger (and drug) issues began to flare. Am not sure I remember meeting anyone who thought that his marriage to Whitney Houston would end up well. As it turned out, not only did his career disintegrate, but eventually her's along with it. Now Houston it attempting to pick up the pieces. Brown has not released an album since 1997, but has been touring with former New Edition mates Ralph Tresvant and Johnny Gill in a group called, "Heads of State" and showed up on Macy Gray's 2010 album. Here is hoping he can get his life back together....

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Anita Baker--Giving you the Best I Got (1988)

     In the late 80's, Anita Baker and Luther Vandross ruled what was known as "Quiet Storm". It was basically R&B's version of soft rock, and had been around since the mid-70's and both singers re-energized the genre. Baker's voice wrapped around you like a warm blanket on a cold day and after breaking through in 1987 was on a roll. 'Giving You the Best I Got" was her most successful song on the Billboard top 100. It's a damp cool day here in Nashville....and after being outside in the rain, could use warm and cozy.....hope you enjoy it too....

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Patti Austin w/James Ingram--Baby Come to Me (1982)

     In the modern history of music, there can be many variables that can make a song a hit. The news of the day can effect it, as can the mood of the population. At times, cross pollination (i.e television, You Tube...etc.) will push a song up the charts. The story of this song was an example of this.

     Patti Austin already had a solid career singing backup on other people's music, and doing jingles. Although only 22 at the time of this recording, she had a lot of experience, with her first time on stage at the Apollo theater at the age of 4. Of course, she had always been around music with Dinah Washington and Quincy Jones being her godparents. It was Jones who signed her to his Quest records in the early 80's.

      "Baby, Come to Me" was released in late 1981, and struggled to reach #73 in late 1982. Later that year, ABC chose the song to be the love theme for the character Luke Spencer on the soap opera "General Hospital". It reignited the song and until it reached #1 on the Billboard Hot 100 and #9 on the R&B charts. By the way, it's not hard to hear Michael McDonald on background vocals as well. Austin continued success on the charts for much of the 80's. She continues to record and tour, but with her focus on Jazz and Adult Contemporary. She won a Grammy in 2008 for best Jazz Vocal.

    

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Atlantic Starr--Always (1987)

    Atlantic Starr began in 1976 as a 7 piece, later to expand to as many as 10 and began having some successes on the R&B charts in 78. By 1985 the group had been paired down to five; David, Wayne, and Jonathan Lewis, Joseph Philips, and Barbara Weathers, and began to find crossover action. "Secret Lovers" off of the album, "As The Band Turns" reached to #3 on the Top 100, and set them up for their biggest hit two years later.
   
     "Always" was off of the album, "All in the Name of Love" and reached #1 on the top 100 and the R&B charts. Weathers left the group after this hit to pursue a solo career and was replaced by Porscha Martin and then Rachel Oliver who was singing lead on their last top 10 hit, "Masterpiece" in 1992. They continue to tour today.

   

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