Deniece Williams: The Songbird of Soul
When you talk about voices that can stop you in your tracks, Deniece Williams has to be in that conversation. Born June 3, 1950, in Gary, Indiana, she became known as the “Songbird of Soul,” blessed with a five-octave range and a soprano that could soar as effortlessly as her friend Minnie Riperton’s legendary whistle tones.
But before the hit records and Grammys, Deniece was in the room — literally — when some of the greatest music in history was made.
Stevie Wonder, Minnie Riperton & the Wonderlove Era
In the early ’70s, Deniece Williams and Minnie Riperton both sang background for Stevie Wonder as part of his Wonderlove ensemble. That means their voices are woven into the harmonies on Stevie’s most celebrated albums:
• Talking Book (1972)
• Innervisions (1973)
• Fulfillingness’ First Finale (1974)
• Songs in the Key of Life (1976)
Imagine being there when “Superstition,” “Living for the City,” or “Knocks Me Off My Feet” were being recorded — Deniece and Minnie’s vocals helped shape the sound of Stevie’s golden era.
That experience didn’t just polish her voice — it expanded her artistry, connecting her to the era’s most sophisticated songwriting and arrangements.
Earth, Wind & Fire & the Maurice White Connection
Deniece’s solo career took flight when Maurice White of Earth, Wind & Fire produced her debut album This Is Niecy in 1976.
• Songs like “Free” and “Cause You Love Me Baby” fused Deniece’s angelic soprano with Maurice’s lush, jazz-funk arrangements.
• This partnership continued on Song Bird (1977), which gave us the nearly eight-minute masterpiece “The Paper.”
• Maurice White didn’t just produce Deniece — he surrounded her with the best musicians in the business.
The Paper: Who Played on It
When you listen to “The Paper”, here’s who you’re hearing:
• Deniece Williams – Lead & background vocals
• Maurice White – Producer, backing vocals, drums
• Larry Dunn – Keyboards & synthesizers
• Jerry Peters – Piano
• Nathan Watts & Verdine White – Bass
• David Garibaldi & Fred White – Drums
• Paulinho da Costa – Percussion
• Victor Feldman – Vibraphone
• Guitarists: Al McKay, Charles Fearing, Marlo Henderson, John Rowin Jr.
• Horns: Don Myrick, Andrew Woolfolk, Michael Harris, Chuck Findley, and others
• Arrangements by Tom Tom 84 (the genius behind so much of Earth, Wind & Fire’s signature sound)
This wasn’t just a song — it was a production masterpiece, layering jazz, funk, gospel, and orchestral soul around Deniece’s one-of-a-kind voice.
Legacy & Influence
Deniece Williams carried forward the artistry she absorbed from Stevie Wonder, Minnie Riperton, and Earth, Wind & Fire into a career that crossed genres effortlessly:
• R&B hits like “Free” and “It’s Gonna Take a Miracle”
• Gospel triumphs like So Glad I Know
• Pop crossover success with “Let’s Hear It for the Boy” (a #1 hit in 1984)
She won Grammys, earned respect across soul, pop, and gospel worlds, and influenced generations of vocalists who came after her.
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Morgan James has been around for a while, quietly flying under the mainstream radar, but those who’ve stumbled across her on YouTube know—she’s the real deal. Her voice is incredible, and she moves through the catalog of popular music like it’s second nature.
This live performance of “Sweet Thing” (Chaka Khan/Rufus) is proof. She doesn’t just cover the song—she owns it, delivering both the soul and the technical mastery it deserves.
I first discovered Morgan years ago when Prince himself heard her sing his song “Call My Name” and gave her his blessing. That’s all I needed to know. Since then, she’s been a must-see act for me—whether she’s tearing through soul, R&B, pop, or even jazz, she’s always at the top of her game.
If you’ve never heard her before, this is the perfect place to start.
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🎤 Rebuttal: Pitchfork Misses the Point of Clipse’s Let God Sort Em Out
“Corporate”?
“Stuffy”?
That ain’t critique — that’s detachment dressed up as journalism.
Pitchfork’s review of Clipse’s Let God Sort Em Out doesn’t just miss the mark — it misses the moment.
What Pharrell, Pusha T, and Malice have done here isn’t some nostalgic retread. This is a sonic correction — a return to musical craftsmanship in an era dominated by algorithm-fed mediocrity.
🔥 This Ain’t Nostalgia — It’s Mastery
When Pharrell produces, he’s not chasing what’s trending. He’s chasing frequency, texture, mood.
The beats on this album are sparse where they need to be, aggressive when the moment demands, and always carved with deliberate restraint.
Calling that “stuffy” tells me you’re listening for what’s safe, not what’s significant. Pharrell’s work here is intentionally anti-formula, and that takes guts.
🧠 Lyrically? You Can’t Touch It
This isn’t fast food — this is gourmet minimalism.
Every bar counts. Every breath matters.
Pusha and Malice are telling stories from grown-man territory now — no filler, no gimmicks, no TikTok hooks.
If you can’t hear the urgency in “Chains & Whips” or decode the sermons in “P.O.V.,” maybe this album just isn’t for you. But don’t penalize Black brilliance because it doesn’t arrive in digestible doses.
🎨 Real Creativity Doesn’t Look Like the Algorithm
Pitchfork says the album lacks spark.
What they mean is: “It doesn’t sound like what’s trending right now.”
And that’s exactly the point.
This project challenges your ears to slow down, to listen intentionally, to sit with discomfort and revelation.
Let God Sort Em Out isn’t meant for the background — it’s a record made for the ritual of listening. For those of us raised on crates, cassette decks, and pause tapes, this isn’t just an album. It’s a return to form.
🎙️ The Final Word
If you're going to critique Clipse and Pharrell, do it with context, culture, and ears trained beyond the algorithm.
This album is a clinic in how to evolve artistically without pandering.
It doesn’t beg to be liked — it stands in conviction and lets the real ones find it.
“We never left. Y’all just stopped listening.”
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A Tribute to Roy Ayers: A Musical Genius Who Touched Generations
Roy Ayers was more than a musician—he was a movement. A vibe. A sound that shaped not just one genre but multiple. He laid the foundation for jazz-funk, infused soul into every note, and unknowingly built the scaffolding for neo-soul and hip-hop decades before the world realized it.
For me, his music wasn’t just something to listen to; it was something to feel. That’s because his sound is irreplaceable. It’s because his music is timeless. It’s because no matter what era you step into, Roy Ayers is always there, still ahead of his time.
From the sun-drenched grooves of Everybody Loves the Sunshine to the undeniable rhythms of Running Away, his music didn’t just exist—it lived, it breathed, and it inspired. Whether you were vibing to his Ubiquity years, his jazz roots, or his influence in hip-hop and R&B through samples and collaborations, his reach was undeniable.
Roy Ayers wasn’t just a legend. He was the coolest cat to ever pick up the vibraphone. He didn’t just create music; he created an entire energy. And now, he’s moved on to a higher plane, where the vibes are eternal. The coolest dude on the planet has left the room—but his music will always be here, keeping us warm, keeping us grooving, keeping us inspired.
Rest in power, Roy Ayers. The world will forever love your sunshine.
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A Rebuttal to the 13-Year-Old Review of A Change of Heart
As a dedicated David Sanborn enthusiast, I respectfully disagree with the notion that A Change of Heart is a "typical '80s outing" with "no real surprises." This album represents Sanborn at the peak of his artistry, blending his signature crying alto sound with innovative production techniques that helped define the era of smooth jazz and contemporary instrumental music.
Sanborn was never one to conform to trends without adding his unique flair, and A Change of Heart is no exception. The use of synthesizers and electronic rhythms wasn't simply a nod to the '80s aesthetic—it was a deliberate effort to push boundaries and expand the sonic landscape of jazz-funk and R&B. Tracks like "Chicago Song" and "Imogene," produced by the legendary Marcus Miller, showcase a synergy between traditional jazz instrumentation and modern production, creating an enduring sound that resonates even decades later.
Moreover, Sanborn’s ability to convey deep emotional expression through his saxophone transcends genre labels. To describe this album as "funky and danceable but with no surprises" fails to capture the nuance and complexity of his phrasing, which is imbued with a raw, human vulnerability that few artists can replicate. Every note tells a story, whether it's driving the groove or soaring above the rhythm section with haunting beauty.
As the smooth jazz genre progressed and younger saxophonists entered the scene, it seems that Sanborn’s monumental contributions have, at times, been overshadowed. Yet, his impact on music—spanning jazz, funk, R&B, and pop—is undeniable. Albums like A Change of Heart not only influenced a generation of musicians but also set a standard for what contemporary instrumental music could achieve.
David Sanborn wasn't just a product of his time; he shaped the sound of his time. A Change of Heart is a testament to his creative vision, and its enduring appeal reminds us why he remains one of the most influential saxophonists of his generation.
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For nearly 14 years, 2Chann has been your premier destination for B side music, spanning genres from the 60s through the 2000s. My YouTube journey began in 2008 with earlier channels, and in 2011, I established 2Chann to elevate the music-sharing experience.
Pioneering Contributions:
First to Fully Credit Artists: I was the very first YouTube content creator to provide comprehensive credits for artists and record companies, ensuring proper recognition for their work.
Early Adopter of Copyright Notices: Among the pioneers in adding copyright disclaimers, I demonstrated respect for intellectual property from the start.
Remastering Excellence:
Since my YouTube inception, I’ve been dedicated to remastering every track to bring out the best sound quality possible. Using tools like Adobe Premiere, Audacity, and Acid Pro by Sony, I’ve removed static, balanced audio levels, and ensured a listening experience that pays proper respect to the original artists. My goal has always been to maintain the integrity of the music while optimizing it for modern listeners, ensuring it sounds phenomenal on any device, especially with headphones.
Authentic Album Art: Each upload features original album covers, maintaining authenticity and consistency with the music.
432Hz Tuning Pioneer: Over the past 8 years, I’ve exclusively tuned all music to 432Hz, a frequency believed to promote relaxation and well-being, enhancing the listening experience.
Community Achievements:
140,000 Subscribers: A vibrant community of music enthusiasts.
124 million Views: A testament to the universal appeal of these timeless genres.
Thank you for being part of this journey. Together, we celebrate the rich legacy of music and the passion that keeps it alive.
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"Summer Madness" became one of the most sampled tracks in hip-hop history. DJ Jazzy Jeff & The Fresh Prince flipped it into "Summertime," and countless others have used it since. But what about "Winter Sadness"? Why hasn’t that been sampled as much? Maybe because it’s slower, more reflective—but man, imagine the possibilities if a producer got their hands on it. That track has layers. It’s crying out for someone to give it a second life in a hip-hop or neo-soul context.
And that brings us back to the bigger issue: funk bands as a whole are so underappreciated. Kool & The Gang, Earth, Wind & Fire, The Meters, Parliament-Funkadelic—they were all brilliant instrumentalists. These bands weren’t just about vocals or lyrics—they were creating full-blown soundscapes. Think about how many of these tracks became the backbone of hip-hop. Funk bands literally gave life to a whole new genre, and yet they don’t get the respect they deserve.
So here’s my challenge to you, YouTube family: go listen to "Winter Sadness." Really listen to it. Let the horns, the keys, the groove wash over you. And then let’s dissect it together. What do you hear in it? What stands out to you? Why do you think it doesn’t get the same recognition as "Summer Madness"? And more importantly, what does this say about how we appreciate—or don’t appreciate—funk bands as true artists?
I want to hear your thoughts in the comments. What’s your favorite instrumental track from Kool & The Gang, or any funk band for that matter? Let’s dig into this together, because I think it’s time we start giving these artists their flowers. Funk is more than party music—it’s art, it’s culture, and it’s the foundation of so much of what we love today. Let’s honor that.
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One of the biggest 'what-ifs' in music history was Shalamar. They were more than just a group—they were a phenomenon. From humble beginnings as dancers on Soul Train to becoming musical icons, Shalamar blended timeless R&B, funk, and pop with a style and fashion sense that was light-years ahead of its time.
But none of this would have been possible without the driving force behind their sound: super producer Leon Sylvers III. As the mastermind of SOLAR Records, Leon didn’t just produce Shalamar’s hits—he defined an entire era of music. With his signature basslines, sharp production, and innovative vocal arrangements, Leon crafted classics like ‘The Second Time Around’ and ‘A Night to Remember,’ shaping the sound that would dominate R&B and funk throughout the late 70s and 80s.
So, here’s the question: what if Shalamar had stayed together? What if Jody Watley, Jeffrey Daniel, and Howard Hewett, under Leon Sylvers’ visionary production, had continued their run as one of the most dynamic groups in music? Could they have been even bigger than they were?
Let’s dive into the legacy, the influence, and the 'what-ifs' of Shalamar. And let’s not forget the genius of Leon Sylvers III, the man who made it all sound so good.
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Groove Collective, and their iconic track Fly. If you’ve never heard of Acid Jazz, think of it as jazz stepping out of the smoky lounge, grabbing funk, soul, and hip-hop by the hand, and hitting the dancefloor. It’s smooth, it’s funky, and it’s impossible to ignore. And Groove Collective? They were the kings of this vibe in the ‘90s. They didn’t just play music—they embodied it.
Fly is that one track that makes you feel like the coolest person alive, no matter what you’re doing. The groove? Silky smooth. The bassline? Unstoppable. The horns? Confident and brassy, like they know they’re stealing the show. And those buttery vocals? They’re all about joy and freedom, lifting you up while the rhythm locks you into a groove. It’s the kind of song that turns any room into a vibe—and any listener into a believer.
Here’s the kicker, though: Fly and Groove Collective don’t get the credit they deserve. Tracks like this set the bar for musicianship, combining jazz improvisation with funk’s swagger and soul’s emotional depth. It’s not just music—it’s an experience. So, if you’ve been sleeping on Acid Jazz, it’s time to wake up. Go listen to Fly, let it take you somewhere, and then come back and tell me how you feel. Until next time, stay groovy, family— and never stop flying.
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What makes Textures so special isn’t just Herbie Hancock’s technical mastery or its connection to Rockit. It’s the fearless creativity and emotional depth behind it. Herbie didn’t just follow trends—he set them. He blended jazz, funk, and cutting-edge technology in ways that no one else dared to at the time.
Here’s something even cooler: Herbie didn’t stop at playing all the instruments. He also *sang* on this track, using a vocoder to transform his voice into an otherworldly, almost instrumental sound. That layer adds another dimension to the track, making it feel even more alive. The vocoder wasn’t just a gimmick—it was a tool Herbie used to blur the lines between human expression and electronic innovation, a technique that would later shine on Rockit.
And then, as if to remind us where it all began, Herbie returns to his roots. Midway through Textures, he takes a breathtaking solo on acoustic piano. This moment feels like the heart of the track—pure, raw, and intimate. It’s as though Herbie is grounding us, pulling us back from the futuristic soundscape to remind us of the timeless beauty of jazz. It’s a masterstroke that bridges his past and future, showing that even in the midst of innovation, he never loses touch with his foundation.
Textures isn’t just a song—it’s a journey. Using his arsenal of keyboards, synthesizers, and his own voice, Herbie didn’t just mimic instruments; he reimagined what they could be. The bass grooves like it’s alive, the drums swing with a human touch, and the solos soar with the soul of a guitar or horn player. Through it all, his vocoder voice and piano tie the piece together, blending the organic with the futuristic.
This track wasn’t just an experiment; it was a blueprint for the future. Its DNA is all over Rockit, the hit that dominated the 1980s. But more than that, *Textures* set the stage for how electronic music could blend seamlessly with jazz and funk, inspiring generations of musicians.
What’s truly remarkable is the timelessness of Textures. Even today, it feels futuristic, a testament to Herbie’s ability to transcend time and genre. It’s a reminder that music, like all art, is about exploration—about pushing boundaries and daring to create something no one has heard before.
So, as we close, let’s reflect on what Textures teaches us. Greatness doesn’t just happen—it’s built, layer by layer, with bold ideas and fearless creativity. Herbie Hancock showed us that the future isn’t something we wait for—it’s something we create. And through tracks like this, he didn’t just make music; he made history.
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Are you ready to take a journey through time and space with a true mixtape artist? Look no further, because I'm your guy! With a lifetime of experience and a passion for old-school mixing, I'm the go-to expert for Classic B-side Jams, Jazz Fusion, Classic Rock, House, and Smooth Jazz. And here's the best part - no genre is off-limits! If it sounds good and fits the theme, it's guaranteed to make the cut. But that's not all - all my playlists are specially tuned at 432 Hz for an even better listening experience. And if you're the type of person who prefers live instrumentation over sampled beats, then you're in for a treat. So what are you waiting for? Come aboard and let's take a musical journey together that you'll never forget!
"Good music is good no matter what kind of music it is."
~ Miles Davis