Below are the most recent 5 friends' journal entries.

Friday, July 17th, 2009
kotoole	5:25p	What Were Those Songs Stevie Wonder Sang at Michael Jackson's Memorial Service? Among the most moving performances at Michael Jackson's memorial service was Stevie Wonder's emotional renditions of two songs: “Never Dreamed You'd Leave in Summer” and “They Won't Go When I Go.” Media reports seemed baffled by these two choices, as they are somewhat obscure to casual Wonder fans. To clarify the often misidentified tracks, the following details the songs' backgrounds. “Never Dreamed You'd Leave in Summer” derives from his 1971 album Where I'm Coming From, which departed from his previous pop-oriented work. Here he gained full control of his material, co-writing every track with then-wife Syreeta Wright. Two successful singles emerged from the album: “If You Really Love Me,” which nodded toward his “Signed, Sealed, Delivered” sound, and “Never Dreamed You'd Leave in Summer.” The track encompasses some of Wonder's best songwriting, likening the end of a relationship to the changing of seasons. Shifting from spring to summer to autumn, the lyrics track his lover's changing feelings: “You said there would be warm love in springtime/That was when you started to be cold,” he sings; he hopes that “the cold would leave by summer” and that she would be “the life in autumn.” When Wonder, accompanying himself on piano, holds the final note on the line “why didn't you stay?” it clearly emphasizes his grief and longing. At the memorial service, Wonder then segued into “They Won't Go When I Go,” a spiritual tune from 1974's Fulfillingness' First Finale. This album shows his further progression into sophisticated songwriting and arranging, although the overall sound is more intimate and stripped down. Virtually every track on this work demonstrates his vast artistry, although “You Haven't Done Nothin'” (featuring backup vocals by the Jackson 5) and “Boogie on Reggae Woman” experienced the greatest chart success. But “They Won't Go When I Go” contains some of the most somber lyrics Wonder ever wrote, backed by heavily classical-influenced piano. A sampling of the lyrics illustrates the song's somber tone: Unclean minds mislead the pure The innocent will leave for sure For them there is a resting place People sinning just for fun They will never see the sun Fleeing from “the greed of man,” “lying friends,” and “hopeless sinners,” the narrator longs for his soul to be released to the “kingdom” where no evil can touch him. Despite these dark images, the song ends on a strong, defiant note: "No one can keep me/From my destiny,” Wonder sings, holding the last syllable. While the track may deviate from Wonder's typical themes of optimism and desire to change the world, it represents his continual exploration of spirituality. Perhaps it can be seen as a bookend to another Fulfillingness' First Finale song, “"Heaven Is 10 Zillion Light Years Away," where he responds to those who doubt God's existence. Quite simply, “They Won't Go When I Go” is a quiet masterpiece that, until now, received less attention than it deserved. Before performing “Never Dreamed You'd Leave in Summer,” Wonder seemed to state that Michael Jackson covered this song. However, discography searches reveal no such recording (if anyone knows where such a recording exists, I'd love to hear it). But Wonder and Jackson recorded together several times, such as on the aforementioned “You Haven't Done Nothin'.” One of their most notable collaborations exists on Jackson's Off the Wall album, with the Wonder composition “Can't Help It.” Wonder occasionally performed the song live, but never issued a studio recording. The duo went on to record two duets: “Just Good Friends” from Jackson's Bad, and “Get It” from Wonder's Characters album. Of course they also performed together on the all-star “We Are the World” single. Both “Never Thought You'd Leave in Summer” and “They Won't Go When I Go” can be found on the excellent four-CD collection At the Close of a Century. However, Fulfillingness' First Finale in particular is a valuable addition to any music collection, as it shows an artist expanding his creative horizons lyrically, thematically, and musically. If anything positive can emerge from Jackson's death, it's that these two often overlooked songs have finally earned some much-deserved acclaim.   Current Mood: busy Current Music: "The In Crowd," Ramsey Lewis (Comment on this)
kotoole	5:22p	Celebrating the Music: A Michael Jackson Retrospective The glove. The sparking white socks. The plastic surgery. The tabloids. The videos.   When news of Michael Jackson's death hit the media last week, these images immediately popped into people's minds. Jackson's legacy is indeed complicated—one news pundit stated that, like Barry Bonds, his records may forever be marked with an asterisk. But temporarily shove aside the lurid images and weird behavior, and simply listen to the music. Of course, Jackson's videos often serve an integral purpose—his superior dancing skills and (at least in the Thriller era) distinctive wardrobe remain cemented in fans' minds as much as the songs. To honor Jackson's music, I've proposed a selection of not only his greatest hits, but some lesser-known album tracks that deserve another listen. This selection focuses mainly on his solo career, but does borrow a few tracks from the Jackson 5 and Jacksons eras. Jackson 5 “I Wanna Be Where You Are” - At such a young age, Jackson possessed a powerful voice, and he unleashed it in full force on this classic. Over a pulsing beat and unusual instrumentation such as a harpsichord, his voice simply bursts through the speakers. “Never Can Say Goodbye” - Forget Gloria Gaynor's disco version; the original remains the best, with Jackson's emotional delivery about a tortured love affair belying his tender age. “Who's Lovin' You” - Want proof of Jackson's early star power? Listen to this long-unreleased version of Smokey Robinson and the Miracles' soul-blues ballad. How could a preteen possibly convey the romantic torture present in the lyrics? Jackson's seemingly effortless performance still amazes and illustrates his profound, wise-beyond-his-years talent.  “ABC,” “The Love You Save,” “I'll Be There,” and “I Want You Back” - No Jackson 5 list would be complete without these perfect pop singles. Jacksons After the group transformed into “The Jacksons” from the “Jackson 5,” the brothers experimented with everything from the Philly soul sound to funk to disco. Their move from Motown to CBS Records in 1975 allowed them to shed their bubblegum pop image and forge a more mature sound. “Good Times” - The Jacksons's first release for CBS, a self-titled album thoroughly steeped in Philly soul, featured this slow classic. Written by the legendary team of Kenneth Gamble and Leon Huff, the song played to the Jacksons' strengths—nicely blended harmonies and Michael's sweetly romantic voice. “Show You the Way to Go” - A faster track, this Gamble and Huff tune recalls the soulful sound of the O'Jays and Harold Melvin and the Blue Notes. In fact, upon first listen, the track sounds like an O'Jays song; only Michael's distinctive voice makes this an ultimately recognizable Jackson tune. One note of “Show You the Way to Go” instantly transports the listener back to the best of 70s soul. “Blame It on the Boogie” and “Shake Your Body (Down to the Ground)” - While these two are well-known hits, their irresistible beats and disco-funk still force listeners to move. On both Destiny tracks, Michael continues to amaze with his funky, good-time vibe. “Can You Feel It” - Fresh off Off the Wall, Michael reunited with his brothers for 1980's Triumph. From its thumping beat to its horns, the beginning announces the group's, well, triumphant return. Michael and his brothers trade vocals, with everyone joining in on the forceful “can you feel it!” chorus. “Lovely One” - In the mode of his best dance tracks, this lesser-known classic features blaring horns, a catchy chorus, a stomping beat, and Michael riding the grooves with apparent glee. “This Place Hotel” - Originally titled “Heartbreak Hotel” and renamed to avoid confusion with Elvis Presley's iconic hit, the track takes an edgier turn with darker lyrics and a raspier vocal performance from Michael. Think of it as the precursor to “Thriller” with its spooky sound effects. Solo “Got to Be There” - Taken from Jackson's 1972 debut solo album of the same name, the song demonstrates his precocious talents as a vocalist. The romantic lyrics may seem mature for a pre-teen, but his amazingly emotional and worldly delivery ultimately sell the tune. "I Wanna Be Where You Are” - Very much in the Jackson 5 mode, this track lets Jackson do what he does best—croon over a catchy beat, along with a killer chorus: “I wanna wanna be where you are/Oh-oh/Anywhere you are/Oh-oh.” “Rockin' Robin” - Teen idols commonly covered cute 50s and 60s pop records (e.g. Leif Garrett, Donny Osmond, and Tiffany), but Jackson's enthusiastic performance made his version every bit as good as Bobby Day's 1958 original. “Get on the Floor” - Quite frankly, Off the Wall contains so many classics that it's difficult to select just a few. While this dance track may not have been as successful as the hits “Rock with You” and “Don't Stop Till You Get Enough,” it still entices listeners to bust a move. “Get on the Floor” also represents one of the times where Jackson seems to thoroughly enjoy singing; his laughter and shouts toward the end can still elicit a smile. “I Can't Help It” - Written by Stevie Wonder, the song allows Jackson to explore the sensual aspects of his voice. Incidentally, rap group De La Soul later sampled the beginning notes on their 1993 classic “Breakadawn.” “Don't Stop Till You Get Enough” - Yes, this song continues to get people on the dance floor. But this massive hit also features Jackson exploring the deeper ranges of his voice. Producer Quincy Jones stated in many interviews that he wanted Jackson to move away from the bubblegum pop of his earlier solo records, put some serious arrangements behind him, and utilize lower ranges. “Don't Stop Till You Get Enough” best represents Jackson's move toward more sophisticated dance/pop. “Rock with You,” “Working Day and Night,” and “Off the Wall” - Again, these tracks have been previously dissected by many critics, but no Jackson retrospective would be complete without them. “Rock with You” in particular spotlights his unique ability to bridge funk, R&B, disco, and pop into a universal groove. “The Lady in My Life” - How to choose particular Thriller tracks? Since virtually every song on the greatest-selling studio album of all time hit the charts (and much has already been written about “Billie Jean” and “Beat It,” among other tracks), selecting a “hidden track” is a challenge. But this overshadowed ballad let Jackson reveal a romantic, sexy side rarely heard on his other works. The song's composer, Rod Temperton, also wrote some of Jackson's best-known singles, including “Rock with You, “Off the Wall,” and “Thriller.” His work with disco/funk group Heatwave in the 70s, as well as his songwriting for numerous artists, deserves greater acclaim. “Liberian Girl” - Many of the Bad tracks bear the typical markings of 80s overproduction, particularly heavy reliance on synthesizers and electronic drums. But this should-have-been hit sounds timeless, with its exotic rhythms and Jackson's delicate vocals making the song a romantic ballad in the vein of “The Lady in My Life.” “Can't Let Her Get Away” - Of course, Jackson always excelled at dance tracks, and this floor burner is no exception. Like the similar “Jam,” this track lets him use his voice as a rhythm device as much as a melodic one. His grunts and growls accentuate the beat perfectly. “In the Closet” - Forget the accompanying video with model Naomi Campbell grinding on a sweaty Jackson. The song remains distinctive, with its driving beat and its double-entendre lyrics. Who is the woman whispering at the beginning and middle of the track? At the time, Madonna was rumored to be the mystery lady. No matter what, “In the Closet” stands out among others in his catalog as well as on the album Dangerous. “Stranger in Moscow” - Taken from Jackson's greatest hits collection HIStory, this song was buried amidst the controversy surrounding his personal life and the odd ways he chose to publicize the album (the weirdest being the huge statue in his likeness that adorns the cover). “Stranger in Moscow” is one of his finer works, subtly emphasizing his isolation from others. Here his vocals take on a lower, warmer tone, but at the same time reach mournful higher notes toward the end of the song. Unlike other new tracks from HIStory, “Stranger in Moscow” takes some risks with lyrics and singing style, and they pay off. “Childhood” - This recommendation comes with a cautionary note: the lyrics are self-serving and are an overt ploy for sympathy. So why is the track significant? Like on “Gone Too Soon” from Dangerous, Jackson allows deep emotion to enter his voice, a too-seldom occurrence. The beautiful notes he hits on both songs are at once impressive and moving. Focus not on the overly sappy and pitiful lyrics, but on his often underrated singing. “Butterflies” - Written by Floetry member Marsha Ambrosius, the track remains the clear standout from his last studio album Invincible. One DJ from Chicago's WGCI-FM called it Jackson's return to the Off the Wall sound, and its chord changes and almost innocently romantic lyrics definitely recall that album. Here Jackson kept his vocal tics to a minimum and simply let the wispy lyrics and slow hip-hop tinged beat shine through. Michael Jackson's legacy will be debated for years to come—who was the “real” man? How did he change in appearance and sound over time? Will controversy overshadow his music? No matter the questions, one fact cannot be denied: Jackson was the consummate performer, an all-around entertainer who could captivate an audience like few others. Listening to the above tracks, as well as numerous others, honors his talent and unique ability to make everyone want to dance and lose themselves in the music. That alone is a legacy worth celebrating. Current Mood: busy Current Music: "Respect," Aretha Franklin (Comment on this)
Tuesday, July 14th, 2009
anglofileplus	5:52p	News of British TV, film and stage offerings Another Anglo entertainment update from Leslie King … ON THE TELLY IN BRITAIN: “Taking the Flak,” a comedy about BBC foreign correspondents, has started on BBC 2. It stars Martin Jarvis (“The Forsythe Saga” 1967; 1997’s “Titanic”). The 67-year-old actor plays BBC senior foreign correspondent David Bradburn, who delivers his on-camera reports with bombast and egotistical melodrama, in the fictitious African country of Karibu. The show about Bradburn’s misadventures covering Karibu’s civil war came close to real life when filming in Kenya was interrupted by election riots, forcing the crew to make a fast exit to Tanzania to finish. Check out this story on Jarvis in the Telegraph: http://www.telegraph.co.uk/culture/tvandradio/5735465/Interview-Martin-Jarvis-on-Taking-the-Flak.html Financial traders caught up in the economic meltdown — how timely is that? “Freefall” on BBC 2 features the heavyweight cast of Rosamund Pike (“Pride & Prejudice,” “Fracture”), Aiden Gillen (“The Wire”), Dominic Cooper (“Mamma Mia”) and Sarah Harding making her TV acting debut, having been a singer in the pop group Girls Aloud. Gillen’s character Gus, a financial trader who specializes in re-packaging and selling bad debt doesn’t heed colleague Anna’s (Pike) warning that the boom must come to an end. Director Dominic Savage had his cast improvise the dialogue, telling them what needed to happen in each scene. Gillen’s been filming “Identity” for ITV, a drama about a fictional squad that investigates criminals abusing fraudulent identities; Keeley Hawes from “Ashes to Ashes” will co-star. Here’s a good interview with Gillen about his work and life so far: http://www.independent.co.uk/arts-entertainment/tv/features/aidan-gillen--a-slippery-player-you-can-bank-on-1739725.html ON TV IN THE U.S.: Fans of the “Masterpiece Mystery!” “Miss Marple” series will want to check out PBS.org, where the mystery writer’s grandson, Mathew Prichard, shares rare family photos and memories of her: http://www.pbs.org/wgbh/masterpiece/christie/prichard.html ONSTAGE IN THE U.K.: Prunella Scales (“Fawlty Towers,” “Mapp and Lucia”) has a role in “Carrie’s War” at the Apollo with Sarah Edwardson in the lead. … “The Importance of Being Earnest” is getting what is described as a fresh restaging at Regent’s Park with Ryan Kiggell (“Silent Witness,” “Atonement”) as Earnest/Jack; plus two refugees from “Footballers’ Wives”: Dominic Tighe as Algernon and Julie Legrand as Miss Prism. Susan Wooldridge plays Lady Bracknell. … “The Hypochondriac” by Moliere at the Playhouse in Liverpool, adapted by native Liverpudlian and former member of Scaffold Roger McGough. Clive Francis stars as Argan, the sick man of the play's title. AROUND AND ABOUT: Actor Bill Nighy (“He Knew He Was Right,” “The Constant Gardener,” “Valkyrie”) is working the till (cash register) and author Joanna Trollope is sorting the shelves as volunteers in the Marylebone High Street Oxfam store in London to help launch the first annual Oxfam Bookfest, a nationwide fund-raising effort running from July 4 to 18 in hundreds of venues around the country. ON THE BIG SCREEN: Swedish director Tomas Alfredson will direct a movie based on John Le Carre's seminal and best-selling Cold War spy novel, “Tinker, Tailor, Soldier, Spy,” previously been adapted into a Bafta-winning and Emmy-nominated TV series in the late 1970s. Screenwriter will be Peter Morgan, writer on “Frost/Nixon” and “The Queen.” ON THE WAY: All coming in the fall and beyond to the BBC: Dominic West as Australian penicillin champion Howard Florey in “Breaking the Mould.” … “Defying Gravity” with Ron Livingston (Sex and the City), a miniseries about a deep space crew on a long mission … “Emma,” a serial adaptation of Jane Austen's work starring Romola Garai (“Atonement,” “Vanity Fair)” and Jonny Lee Miller (“Endgame,” “Melinda And Melinda”), Michael Gambon (“Harry Potter,” “Cranford”), Tamsin Greig (“The Diary Of Anne Frank”), Robert Bathurst (“Cold Feet”) and Jodhi May … an animated Christmas special featuring Robbie Coltrane as the Gruffalo … “Material Girl,” a six-part romantic comedy set in the world of fashion designing with Dervla Kirwan (“Doctor Who”) … Helena Bonham Carter (“Harry Potter,” “Sweeney Todd”) in “Enid Blyton,” a biopic of the storyteller with Matthew Macfadyen (“Pride & Prejudice,” “Frost/Nixon”) and Denis Lawson (“Bleak House”) … Trevor Eve and Eve Myles in “Framed,” a family drama adapted by Frank Cottrell Boyce from his best-selling children's novel in which villagers in a remote North Wales village discover that the National Gallery in London has been flooded and its priceless paintings are being sent to Wales for safe storage in the bowels of the old slate mine (just as they were during the Second World War) … “Garrow's Law,” four-part legal drama inspired by the life of pioneering barrister William Garrow, with Andrew Buchan, Alun Armstrong and Lyndsey Marshall (“Rome”), set in the Old Bailey of Georgian London against a backdrop of corruption and social injustice and based on real legal cases from the late 18th century … Patricia Hodge (“Betrayal,” “The Life and Loves of a She-Devil”) returning to TV in a new sitcom, “Miranda,” playing Miranda's mother … “Paradox,” an investigative drama in which the team must not only prevent complex crimes and incidents but wrestle with the moral and emotional implications of changing the future, featuring Tamzin Outhwaite (“Red Cap”) and Emun Elliott. Coming on ITV: “Trinity,” with Charles Dance (“Jewel in the Crown,” “White Mischief”), Claire Skinner and Reggie Yates in an eight-part college drama. ON ORDER: BBC 2 has commissioned a new comedy series starring Dawn French (“Absolutely Fabulous”) called “Roger and Val Have Just Got In.” The male lead hasn’t been cast yet. The series will feature the lives of a middle-aged couple after they've come through the door at the end of the working day. … “Small Island,” described as an epic love story and set against the backdrop of the Second World War, it follows the interlocking lives of Londoner Queenie (Ruth Wilson) and husband Bernard (Benedict Cumberbatch); Gilbert and Hortense (David Oyelowo and Naomie Harris), the young Jamaican couple who become their lodgers; and the handsome but mysterious Michael (Ashley Walters). ONSTAGE IN THE U.S.: Aussie Hugh Jackman and Brit Daniel Craig (Bond, James Bond) will appear on Broadway together as two Chicago businessman in “A Steady Rain,” a drama about two cops. (Comment on this)
Wednesday, July 8th, 2009
kotoole	11:50p	Womack & Womack Engage in Love Wars with Soulful and Danceable Results Several years ago, while flipping through local radio stations, I came across a song that has a danceable beat, yet retains some Philly soul-like sound. The first half of the track involves a female singer crooning about how she was through with a man who pulls “rabbits out of his hat every day.” The next stanza uses magical and fairy-tale imagery to communicate how she wants to find a real man: Houdini, Houdini, was great magician He could crack a lock, oh yes he could From any position But my heart, is nothing like those locks And your falling last of my brand of stock Like little red riding hood, you‘re the fox The song then segues into a dialogue, or battle of the sexes, between a Lothario and this same woman. He tries seduction: “Oh, Like Rudolph Valentino,/I can fall down on my knees/Pull flowers out my sleeve,” he tells her, but she remains unimpressed, stating “I can't understand that baby,” and “I need a little more.” In the end, the man grudging gives up, with the woman still trying to find her true love. This second section immediately grabbed and held my attention, and I began a mission to find that track, “Baby I'm Scared of You.” Due to its retro sound, I assumed that it dated from the mid-to-late 1970s. To my surprise, the song came from a 1983 album entitled Love Wars by Womack & Womack, and listening to the rest of the CD revealed a talented duo who never received the recognition they deserved.   The husband and wife team can trace their roots to soul royalty. Linda Cooke Womack, the daughter of legend Sam Cooke, began her songwriting career at age 11, eventually penning tracks for Wilson Pickett and future brother-in-law Bobby Womack. Cecil Womack embarked on his music career by performing with his brothers in The Valentinos. Cooke acted as their mentor until his untimely death, and Bobby later left the group to pursue a successful solo career. After marrying and divorcing former Supreme Mary Wells, Cecil reconnected with childhood friend Linda to become her husband and songwriting partner for Philadelphia International. Together they penned the Teddy Pendergrass classic “Love TKO,” Patti LaBelle's “Love Symphony,” and “I Just Want to Satisfy You” for the O'Jays. In 1983 the couple released their debut album, Love Wars, under the name Womack & Womack. The duo demonstrates their versatility and soul lineage on several songs, including their version of “Love TKO.” Cecil's voice may not possess the raw sensual quality of Pendergrass', but he still communicates the lyrics' sexuality through his smooth but slightly gritty tenor. “APB” is a soulful Philly homage that issues an “all points bulletin” for find love. While “Love Wars” bears some 80s marks—synthesizer and electronic drum beats—the blending of Linda's and Cecil's voices greatly raises the track's quality. Other than “Baby I'm Scared of You,” the other song best illustrating their collaboration is “Express Myself,” with Linda's strong, funky vocals intertwining with Cecil's old-school voice. Retro soul meets funk on the track, and the results are catchy. Her vocals also steal the spotlight on the mid-tempo “Woman,” where she fully expands on her feisty “Baby I'm Scared of You” character. Interestingly Womack & Womack end Love Wars with two Rolling Stones covers: “Angie” and “Good Times,” both of which the couple transform into emotional R&B classics. In particular, “Angie” allows Cecil to fully explore his range and power of his singing. After its release, Love Wars enjoyed moderate chart success--”Baby I'm Scared of You” reached the UK charts, while the album hit number 34 on the US R&B charts. Subsequently the duo recorded four more albums under the Womack & Womack moniker—Radio M.U.S.C. Man, Star Bright, Conscience, and Family Spirit. In the early 1990s, Linda and Cecil relocated to Nigeria and changed their names to Zeriiya (Linda) and Zekkariyas (Cecil), relating to the Afrocentricity movement, according to Soulwalking's biography. After recording their final album for the Warner Brothers label, the 1993 Transformed To The House Of Zekkariyas, the couple resumed writing tracks for other artists. In 2002 Linda and Cecil resumed their recording career with Sub Conscience, recorded with their seven children under the name House of Zekkariyas (see Soultracks' biography page for more information), followed by 2007's Circular Motion under the name Womack & Womack Project/Zek. Despite these changes in names and sounds, Womack & Womack will always be known for their merging of old and new soul, which produced a different, organic sound for the synthesizer-heavy 1980s. “Baby I'm Scared of You” stands the test of time as not only a great dance track, but one that uses the “battle of the sexes” theme to great — and irresistible — advantage. While that song definitely stands out, do not neglect the smooth yet funky soul that pervades the underrated classic Love Wars. Current Mood: busy Current Music: hum of my computer (Comment on this)
kotoole	11:48p	Womack & Womack Engage in Love Wars with Soulful and Danceable Results Several years ago, while flipping through local radio stations, I came across a song that has a danceable beat, yet retains some Philly soul-like sound. The first half of the track involves a female singer crooning about how she was through with a man who pulls “rabbits out of his hat every day.” The next stanza uses magical and fairy-tale imagery to communicate how she wants to find a real man: Houdini, Houdini, was great magician He could crack a lock, oh yes he could From any position But my heart, is nothing like those locks And your falling last of my brand of stock Like little red riding hood, you‘re the fox The song then segues into a dialogue, or battle of the sexes, between a Lothario and this same woman. He tries seduction: “Oh, Like Rudolph Valentino,/I can fall down on my knees/Pull flowers out my sleeve,” he tells her, but she remains unimpressed, stating “I can't understand that baby,” and “I need a little more.” In the end, the man grudging gives up, with the woman still trying to find her true love. This second section immediately grabbed and held my attention, and I began a mission to find that track, “Baby I'm Scared of You.” Due to its retro sound, I assumed that it dated from the mid-to-late 1970s. To my surprise, the song came from a 1983 album entitled Love Wars by Womack & Womack, and listening to the rest of the CD revealed a talented duo who never received the recognition they deserved.   The husband and wife team can trace their roots to soul royalty. Linda Cooke Womack, the daughter of legend Sam Cooke, began her songwriting career at age 11, eventually penning tracks for Wilson Pickett and future brother-in-law Bobby Womack. Cecil Womack embarked on his music career by performing with his brothers in The Valentinos. Cooke acted as their mentor until his untimely death, and Bobby later left the group to pursue a successful solo career. After marrying and divorcing former Supreme Mary Wells, Cecil reconnected with childhood friend Linda to become her husband and songwriting partner for Philadelphia International. Together they penned the Teddy Pendergrass classic “Love TKO,” Patti LaBelle's “Love Symphony,” and “I Just Want to Satisfy You” for the O'Jays. In 1983 the couple released their debut album, Love Wars, under the name Womack & Womack. The duo demonstrates their versatility and soul lineage on several songs, including their version of “Love TKO.” Cecil's voice may not possess the raw sensual quality of Pendergrass', but he still communicates the lyrics' sexuality through his smooth but slightly gritty tenor. “APB” is a soulful Philly homage that issues an “all points bulletin” for find love. While “Love Wars” bears some 80s marks—synthesizer and electronic drum beats—the blending of Linda's and Cecil's voices greatly raises the track's quality. Other than “Baby I'm Scared of You,” the other song best illustrating their collaboration is “Express Myself,” with Linda's strong, funky vocals intertwining with Cecil's old-school voice. Retro soul meets funk on the track, and the results are catchy. Her vocals also steal the spotlight on the mid-tempo “Woman,” where she fully expands on her feisty “Baby I'm Scared of You” character. Interestingly Womack & Womack end Love Wars with two Rolling Stones covers: “Angie” and “Good Times,” both of which the couple transform into emotional R&B classics. In particular, “Angie” allows Cecil to fully explore his range and power of his singing. After its release, Love Wars enjoyed moderate chart success--”Baby I'm Scared of You” reached the UK charts, while the album hit number 34 on the US R&B charts. Subsequently the duo recorded four more albums under the Womack & Womack moniker—Radio M.U.S.C. Man, Star Bright, Conscience, and Family Spirit. In the early 1990s, Linda and Cecil relocated to Nigeria and changed their names to Zeriiya (Linda) and Zekkariyas (Cecil), relating to the Afrocentricity movement, according to Soulwalking's biography. After recording their final album for the Warner Brothers label, the 1993 Transformed To The House Of Zekkariyas, the couple resumed writing tracks for other artists. In 2002 Linda and Cecil resumed their recording career with Sub Conscience, recorded with their seven children under the name House of Zekkariyas (see Soultracks' biography page for more information), followed by 2007's Circular Motion under the name Womack & Womack Project/Zek. Despite these changes in names and sounds, Womack & Womack will always be known for their merging of old and new soul, which produced a different, organic sound for the synthesizer-heavy 1980s. “Baby I'm Scared of You” stands the test of time as not only a great dance track, but one that uses the “battle of the sexes” theme to great — and irresistible — advantage. While that song definitely stands out, do not neglect the smooth yet funky soul that pervades the underrated classic Love Wars. (Comment on this)