Post by Jonel on Aug 1, 2003 15:53:39 GMT -5
Old soul meets new
India.Arie mingles with Temptations at music festival
By Susan Whitall / The Detroit News
Original member Otis Williams will lead the latest lineup of the legendary Motown group the Temptations.
The Detroit Music Festival takes over Comerica Park on Friday and Saturday, and promoters believe it's fitting on more than one level that the festival will be held in Detroit for the third year, after decades in Cincinnati.
For one thing, Detroiters made up more than 50 percent of the audience when it was in the southern Ohio city, according to promoter Kevin Brown. The festival started there in the '70s as the Kool Music Festival.
It didn't help things when a boycott of Cincinnati was called by black community groups in 2001 stemming from conflicts with the police.
"As far as I know, we've never done an economic impact study, but I can tell you that it was a very highly attended festival, and many of our hotels and restaurants in the Cincinnati area were full," says Julie Calvert, vice president of the Greater Cincinnati Convention and Visitors Bureau. "It's unfortunate that it hasn't been here in the last few years."
But Brown, who was involved with the festival in its Cincinnati days, downplays what Cincinnati lost. To him what's most important is that Detroit has won the festival, and why: "Detroit is where it all began when it comes to rhythm and blues," he says.
So Detroiters need only drive a short distance to see R. Kelly, the Isley Brothers, India.Arie, Nelly, Nas, Maze featuring Frankie Beverly, the Temptations, Four Tops and a slew of other acts (see box).
It's an interesting mix of veteran and new acts, including a Motown artist with deep local roots -- India.Arie.
India.Arie, 28, was born in Denver and grew up in Atlanta, but her father is one of the most famous basketball players to come out of the Detroit public schools: Ralph Simpson, one of the fabled Pershing High Doughboys. Simpson graduated from Pershing in 1968 and headed for Michigan State, where he met India.Arie's mother and stayed until 1970, when he went pro with the Denver Nuggets.
An India.Arie concert in Detroit is thus a family affair. "My family comes from all around the state, from Chicago, they all come to the show when I play Detroit," the singer says.
Her debut album, "Acoustic Soul" (2001), followed up by last year's "Voyage to India," introduced an artist who followed her own muse, creating her own universe distinct from the trends and cycles of the music world.
Although the Motown artist has publicly embraced Eminem, her dreamy, acoustic-based music is almost entirely devoid of any hip-hop influences and evokes the transcendent quality of music of the '70s, with its hippie vibe and soulfulness.
Her image is equally that of the "natural woman," without the surface fripperies of most modern divas.
But she argues that there is no sell-by date on her kind of soul. "I don't think my music fits into an era," she says. "The production sound is very modern yet classic at the same time. I don't think it's a throwback, but a continuation of the many thousands of spirits who walked the earth (communicated), and I wanted to share the ideals of that inspiration. I don't think spiritual ideals have a decade."
She insists that even when music seems to have cycled away from idealism, there are always artists working in that style.
"There's always somebody. Stevie Wonder's always done that even when there was all the crap going on in the '80s. He was still there. Oleta Adams was there."
She shrugs off charges that her lyrics are too sunny.
"I really just write what I hear and how I feel. I'm not blind to the injustices or ugliness of life. I've had as much of that in my life as anyone, but that's not how I choose to approach songwriting. I have songs that are about negative situations. ... 'Get It Together,' is how I approach that kind of thing.
"That song was about one of the hardest things I had to deal with in my life, but I chose to write a positive song about it."
She laughs. "I don't ignore the critics. It's hard to ignore if the criticisms are harsh. But when I'm in my creative mode at my house, and I'm just writing, I don't even think about them. They don't think about me when they're at home!"
Of the veteran acts playing this weekend's festival, the Isley Brothers have managed to stay not only active but have changed with the times through six successive decades, from doo-wop to hip-hop.
"We're not confined to a particular musical genre or time. We're very much in the present tense," says Ernie Isley, 51. "Folks who are being introduced to us now are in for a surprise when they go to a Virgin Megastore, go to the 'Isley Brothers' section and say, 'Wow, I didn't know they had that many albums!' "
Older brother Ron Isley, 62, has been with the group for all of those years, his tenor voice heard on 1959's party rave-up "Shout," as well as the 1962 smash "Twist and Shout." The Isleys were even part of Motown briefly, jumping to the label in 1965 for the Four Tops-esque "This Old Heart of Mine."
After leaving Motown, the Isleys picked up Jimi Hendrix as a guitarist for a time. He was eventually replaced by younger brother Ernie Isley, who joined up on bass, then lead guitar for the Isley's funky/sensual '70s work, including hits such as "Who Was That Lady?" and "Between the Sheets."
"Our catalog is the most heavily sampled by the hip-hop/rap generation, so we fit right in," says Ernie Isley. He joined his older brothers at the time of "It's Your Thing" in 1969.
This year, the Isleys are riding high again with their latest album, "Body Kiss," produced by R. Kelly. The album hit No. 1 for several weeks after its May release.
Kelly is not only a producer for the Isleys, and an on-screen nemesis for Ron Isley's "Mr. Biggs" persona on their videos, but a personal friend as well.
"He's like an Isley Brother for all intents and purposes," the younger Isley says. "He has a very keen, instinctual understanding of our music."
Brother Ron agrees. "His mother was a big fan of ours, he grew up with our music. We're so close ... to the point where anything I want to do as a songwriter/producer, he can imitate me, he'll write a song and say this song's for Ronald.
"It's fun for us in the studio. We not only sing, we play around. We hang out and go to the basketball games. He's always trying to be Magic Johnson. He plays basketball every day before he goes into the studio."
Kelly also helped encourage Ron Isley's "Mr. Biggs" persona, which is partly what's thrust the Isleys into the consciousness of younger fans, with Isley/Biggs' dress and demeanor evoking the hip pimp look (a slight tweak to last year's thug look).
Ron Isley believes the edgy, Mr. Biggs image is just part of staying close to the neighborhoods.
"He (R. Kelly) tries to do what we would do, write about life. If you can capture the thug image that's going on in the 'hood, you're closer to the people. Everybody can relate to the fancy cars, the bling bling jewelry. They don't get mad when you've got on two or three necklaces because they're trying to put something on their necks. As long as you're true to your music."
You won't find the thug or pimp look on a Temptations album or in their live set. The legendary Motown group will perform on Saturday with their newest Tempt, G.C. Cameron of the Spinners, in tow.
Otis Williams, the sole remaining original Temptation, respects the Isleys but is adamant that his group will never go as far to stay "modern."
"I love Ronnie, but I don't know about some of the things that they're getting over on there," Williams says of the Isley's new album.
As for the argument that the Isleys are just "keeping it real," Williams says he's heard that before.
"I heard one artist saying they're in the 'hood and that's just the way it is," Williams says. "Well, what about all the people before them, where were they born? Most black folks, as well as white folks, there was a 'hood we were born into, but I don't think that necessarily requires you to call women (names). ... Those words, and the m.f. word have been around for eons. It's very reflective of the times we are living in. I think our morality has dropped."
Williams partially faults radio.
"During the '60s and '70s and up to the '80s, you would not get any airplay with cussing on your records," he says. "The FCC wouldn't allow it. I don't understand. The people saying these things, they've got sisters and they've got mamas and aunts and grandmothers."
When they first started, the Temptations' roots were solidly in the doo-wop era, with sweet, gospel-tinged harmonies. Later in the '60s, when they teamed with producer Norman Whitfield, and Dennis Edwards replaced David Ruffin, the Temptations' music took on a harder edge.
But Williams argues that the "psychedelic Temptations" showed what was going on in the streets without having to bleep anything out.
"With 'Papa Was a Rolling Stone,' most anyone could relate to that," he says. " 'My daddy was something else,' but I don't have to cuss about it. On 'Ball of Confusion,' we were talking about the sign of the times, but we didn't use bad language."
Williams believes that the classic nature of Motown music, and its ability to appeal to such a broad audience were key to its success.
"Who would have thought this little two-story family flat in Detroit would make such an impact on the world. We were trying to heal troubled times. When I looked back, it was destined, meant to be. And I'm so thankful I'm a part of something that will outlive us all."
You can reach Susan Whitall at (313) 222-2156 or swhitall@detnews.com.
www.detnews.com/2003/entertainment/0307/31/d01-231922.htm
India.Arie mingles with Temptations at music festival
By Susan Whitall / The Detroit News
Original member Otis Williams will lead the latest lineup of the legendary Motown group the Temptations.
The Detroit Music Festival takes over Comerica Park on Friday and Saturday, and promoters believe it's fitting on more than one level that the festival will be held in Detroit for the third year, after decades in Cincinnati.
For one thing, Detroiters made up more than 50 percent of the audience when it was in the southern Ohio city, according to promoter Kevin Brown. The festival started there in the '70s as the Kool Music Festival.
It didn't help things when a boycott of Cincinnati was called by black community groups in 2001 stemming from conflicts with the police.
"As far as I know, we've never done an economic impact study, but I can tell you that it was a very highly attended festival, and many of our hotels and restaurants in the Cincinnati area were full," says Julie Calvert, vice president of the Greater Cincinnati Convention and Visitors Bureau. "It's unfortunate that it hasn't been here in the last few years."
But Brown, who was involved with the festival in its Cincinnati days, downplays what Cincinnati lost. To him what's most important is that Detroit has won the festival, and why: "Detroit is where it all began when it comes to rhythm and blues," he says.
So Detroiters need only drive a short distance to see R. Kelly, the Isley Brothers, India.Arie, Nelly, Nas, Maze featuring Frankie Beverly, the Temptations, Four Tops and a slew of other acts (see box).
It's an interesting mix of veteran and new acts, including a Motown artist with deep local roots -- India.Arie.
India.Arie, 28, was born in Denver and grew up in Atlanta, but her father is one of the most famous basketball players to come out of the Detroit public schools: Ralph Simpson, one of the fabled Pershing High Doughboys. Simpson graduated from Pershing in 1968 and headed for Michigan State, where he met India.Arie's mother and stayed until 1970, when he went pro with the Denver Nuggets.
An India.Arie concert in Detroit is thus a family affair. "My family comes from all around the state, from Chicago, they all come to the show when I play Detroit," the singer says.
Her debut album, "Acoustic Soul" (2001), followed up by last year's "Voyage to India," introduced an artist who followed her own muse, creating her own universe distinct from the trends and cycles of the music world.
Although the Motown artist has publicly embraced Eminem, her dreamy, acoustic-based music is almost entirely devoid of any hip-hop influences and evokes the transcendent quality of music of the '70s, with its hippie vibe and soulfulness.
Her image is equally that of the "natural woman," without the surface fripperies of most modern divas.
But she argues that there is no sell-by date on her kind of soul. "I don't think my music fits into an era," she says. "The production sound is very modern yet classic at the same time. I don't think it's a throwback, but a continuation of the many thousands of spirits who walked the earth (communicated), and I wanted to share the ideals of that inspiration. I don't think spiritual ideals have a decade."
She insists that even when music seems to have cycled away from idealism, there are always artists working in that style.
"There's always somebody. Stevie Wonder's always done that even when there was all the crap going on in the '80s. He was still there. Oleta Adams was there."
She shrugs off charges that her lyrics are too sunny.
"I really just write what I hear and how I feel. I'm not blind to the injustices or ugliness of life. I've had as much of that in my life as anyone, but that's not how I choose to approach songwriting. I have songs that are about negative situations. ... 'Get It Together,' is how I approach that kind of thing.
"That song was about one of the hardest things I had to deal with in my life, but I chose to write a positive song about it."
She laughs. "I don't ignore the critics. It's hard to ignore if the criticisms are harsh. But when I'm in my creative mode at my house, and I'm just writing, I don't even think about them. They don't think about me when they're at home!"
Of the veteran acts playing this weekend's festival, the Isley Brothers have managed to stay not only active but have changed with the times through six successive decades, from doo-wop to hip-hop.
"We're not confined to a particular musical genre or time. We're very much in the present tense," says Ernie Isley, 51. "Folks who are being introduced to us now are in for a surprise when they go to a Virgin Megastore, go to the 'Isley Brothers' section and say, 'Wow, I didn't know they had that many albums!' "
Older brother Ron Isley, 62, has been with the group for all of those years, his tenor voice heard on 1959's party rave-up "Shout," as well as the 1962 smash "Twist and Shout." The Isleys were even part of Motown briefly, jumping to the label in 1965 for the Four Tops-esque "This Old Heart of Mine."
After leaving Motown, the Isleys picked up Jimi Hendrix as a guitarist for a time. He was eventually replaced by younger brother Ernie Isley, who joined up on bass, then lead guitar for the Isley's funky/sensual '70s work, including hits such as "Who Was That Lady?" and "Between the Sheets."
"Our catalog is the most heavily sampled by the hip-hop/rap generation, so we fit right in," says Ernie Isley. He joined his older brothers at the time of "It's Your Thing" in 1969.
This year, the Isleys are riding high again with their latest album, "Body Kiss," produced by R. Kelly. The album hit No. 1 for several weeks after its May release.
Kelly is not only a producer for the Isleys, and an on-screen nemesis for Ron Isley's "Mr. Biggs" persona on their videos, but a personal friend as well.
"He's like an Isley Brother for all intents and purposes," the younger Isley says. "He has a very keen, instinctual understanding of our music."
Brother Ron agrees. "His mother was a big fan of ours, he grew up with our music. We're so close ... to the point where anything I want to do as a songwriter/producer, he can imitate me, he'll write a song and say this song's for Ronald.
"It's fun for us in the studio. We not only sing, we play around. We hang out and go to the basketball games. He's always trying to be Magic Johnson. He plays basketball every day before he goes into the studio."
Kelly also helped encourage Ron Isley's "Mr. Biggs" persona, which is partly what's thrust the Isleys into the consciousness of younger fans, with Isley/Biggs' dress and demeanor evoking the hip pimp look (a slight tweak to last year's thug look).
Ron Isley believes the edgy, Mr. Biggs image is just part of staying close to the neighborhoods.
"He (R. Kelly) tries to do what we would do, write about life. If you can capture the thug image that's going on in the 'hood, you're closer to the people. Everybody can relate to the fancy cars, the bling bling jewelry. They don't get mad when you've got on two or three necklaces because they're trying to put something on their necks. As long as you're true to your music."
You won't find the thug or pimp look on a Temptations album or in their live set. The legendary Motown group will perform on Saturday with their newest Tempt, G.C. Cameron of the Spinners, in tow.
Otis Williams, the sole remaining original Temptation, respects the Isleys but is adamant that his group will never go as far to stay "modern."
"I love Ronnie, but I don't know about some of the things that they're getting over on there," Williams says of the Isley's new album.
As for the argument that the Isleys are just "keeping it real," Williams says he's heard that before.
"I heard one artist saying they're in the 'hood and that's just the way it is," Williams says. "Well, what about all the people before them, where were they born? Most black folks, as well as white folks, there was a 'hood we were born into, but I don't think that necessarily requires you to call women (names). ... Those words, and the m.f. word have been around for eons. It's very reflective of the times we are living in. I think our morality has dropped."
Williams partially faults radio.
"During the '60s and '70s and up to the '80s, you would not get any airplay with cussing on your records," he says. "The FCC wouldn't allow it. I don't understand. The people saying these things, they've got sisters and they've got mamas and aunts and grandmothers."
When they first started, the Temptations' roots were solidly in the doo-wop era, with sweet, gospel-tinged harmonies. Later in the '60s, when they teamed with producer Norman Whitfield, and Dennis Edwards replaced David Ruffin, the Temptations' music took on a harder edge.
But Williams argues that the "psychedelic Temptations" showed what was going on in the streets without having to bleep anything out.
"With 'Papa Was a Rolling Stone,' most anyone could relate to that," he says. " 'My daddy was something else,' but I don't have to cuss about it. On 'Ball of Confusion,' we were talking about the sign of the times, but we didn't use bad language."
Williams believes that the classic nature of Motown music, and its ability to appeal to such a broad audience were key to its success.
"Who would have thought this little two-story family flat in Detroit would make such an impact on the world. We were trying to heal troubled times. When I looked back, it was destined, meant to be. And I'm so thankful I'm a part of something that will outlive us all."
You can reach Susan Whitall at (313) 222-2156 or swhitall@detnews.com.
www.detnews.com/2003/entertainment/0307/31/d01-231922.htm
goin' down) That got play...in 1975 at that !Don't seem like they are trying to be "modern"...they did that in 75.