One of the most popular funk groups of the '70s, War were also one of the most eclectic, freely melding soul, Latin, jazz, blues, reggae, and rock influences into an effortlessly funky whole. Although War's lyrics were sometimes political in nature (in keeping with their racially integrated lineup), their music almost always had a sunny,... [+] Read More

One of the most popular funk groups of the '70s, War were also one of the most eclectic, freely melding soul, Latin, jazz, blues, reggae, and rock influences into an effortlessly funky whole. Although War's lyrics were sometimes political in nature (in keeping with their racially integrated lineup), their music almost always had a sunny, laid-back vibe emblematic of their Southern California roots. War kept the groove loose, and they were given over to extended jamming -- in fact, many of their studio songs were edited together out of longer improvisations. Even if the jams sometimes got indulgent, they demonstrated War's truly group-minded approach: no one soloist or vocalist really stood above the others (even though all were clearly talented), and their grooving interplay placed War in the top echelon of funk ensembles.

The roots of War lay in an R&B cover band called the Creators. Guitarist Howard Scott and drummer Harold Brown started the group in 1962 while attending high school in the Compton area, and three years later, the lineup also featured keyboardist Leroy "Lonnie" Jordan, bassist Morris "B.B." Dickerson, and saxophonist/flutist Charles Miller (all of them sang). The group had an appetite for different sounds right from the start, ranging from R&B to blues to the Latin music they'd absorbed while growing up in the racially mixed ghettos of Los Angeles. Despite a two-year hiatus following Scott's induction into the service, they released several singles locally on Dore Records (their first, "Burn Baby Burn," was with singer Johnny Hamilton), and backed jazz saxophonist Jay Contreli, formerly of the psychedelic band Love; they also went by the names the Romeos and Señor Soul during this period. In 1968, the band was reconfigured and dubbed Nightshift; Peter Rosen was the new bassist, and percussionist Thomas Sylvester "Papa Dee" Allen, who'd previously played with Dizzy Gillespie, came onboard, along with two more horn players. B.B. Dickerson later returned when Rosen died of a drug overdose. In 1969, Nightshift began backing football star Deacon Jones (a defensive end for the L.A. Rams) during his singing performances in a small club, where they were discovered by producer Jerry Goldstein. Goldstein suggested the band as possible collaborators to former Animals lead singer Eric Burdon, who along with Danish-born harmonica player Lee Oskar (born Oskar Levetin Hansen) had been searching L.A. clubs for a new act.

After witnessing Nightshift in concert, Burdon took charge of the group. He gave them a provocative new name, War, and replaced the two extra horn players with Oskar. To develop material, War began playing marathon concert jams over which Burdon would free-associate lyrics. In August 1969, Burdon and War entered the studio for the first time, and after some more touring, they recorded their first album, 1970's Eric Burdon Declares War. The spaced-out daydream of "Spill the Wine" was a smash hit, climbing to number three and establishing the group in the public eye. A second album, The Black Man's Burdon, was released before the year's end, and over the course of two records it documented the group's increasingly long improvisations (as well as Burdon's growing tendency to ramble). It also featured War's first recorded vocal effort on "They Can't Take Away Our Music." Burdon's contract allowed War to be signed separately, and they soon inked a deal with United Artists, intending to record on their own as well as maintaining their partnership with Burdon. However, Burdon -- citing exhaustion -- suddenly quit during the middle of the group's European tour in 1971, spelling the beginning of the end; he rejoined War for a final U.S. tour and then left for good.

War had already issued their self-titled, Burdon-less debut at the beginning of 1971, but it flopped. Before the year was out, they recorded another effort, All Day Music, which spawned their first Top 40 hits in "All Day Music" and "Slippin' Into Darkness"; the album itself was a million-selling Top 20 hit. War really hit their stride on the follow-up album, 1972's The World Is a Ghetto; boosted by a sense of multicultural harmony, it topped the charts and sold over three million copies, making it the best-selling album of 1973. It also produced two Top Ten smashes in "The Cisco Kid" (which earned them a fervent following in the Latino community) and the title ballad. 1973's Deliver the Word was another million-selling hit, reaching the Top Ten and producing the Top Ten single "Gypsy Man" and another hit in "Me and Baby Brother." However, it had less of the urban grit that War prided themselves on; while taking some time to craft new material and rethink their direction, War consolidated their success with the double concert LP War Live, recorded over four nights in Chicago during 1974.

Released in 1975, Why Can't We Be Friends returned to the sound of The World Is a Ghetto with considerable success. The bright, anthemic title track hit the Top Ten, as did "Low Rider," an irresistible slice of Latin funk that became the group's first (and only) R&B chart-topper, and still stands as their best-known tune. 1976 brought the release of a greatest-hits package featuring the new song "Summer," which actually turned out to be War's final Top Ten pop hit; the same year, Oskar released his first solo album, backed by members of Santana. A double-LP compilation of jams and instrumentals appeared on the Blue Note jazz label in 1977, under the title Platinum Jazz; it quickly became one of the best-selling albums in Blue Note history, and produced an R&B-chart smash with an edited version of "L.A. Sunshine."

Yet disco was beginning to threaten the gritty, socially aware funk War specialized in. Later in 1977, the band switched labels, moving to MCA for Galaxy; though it sold respectably, and the disco-tinged title track was a hit on the R&B charts, it fizzled on the pop side, and proved to be the last time War would hit the Top 40. After completing the Youngblood soundtrack album in 1978, the original War lineup began to disintegrate. Dickerson left during the recording of 1979's The Music Band (which featured new female vocalist Alice Tweed Smith), and not long after, Charles Miller was murdered in a robbery attempt. After The Music Band was released, the remaining members attempted to refashion their image to fit the glitz of the era, and added some new personnel: bassist Luther Rabb, percussionist Ronnie Hammon, and saxophonist Pat Rizzo (ex-Sly & the Family Stone). The Music Band 2 flopped, and the group was thrown into disarray; Smith exited, and the follow-up took an uncharacteristic three years to prepare. Released in 1982, Outlaw was a moderate success; the title track was a Top 20 R&B hit, and "Cinco de Mayo" became a Latino holiday standard. Yet it didn't restore War's commercial standing. Rizzo left later in the year; Harold Brown followed in 1983, after Life Is So Strange flopped; and Rabb was replaced with Ricky Green in 1984. In the years that followed, War was essentially a touring outfit and nothing more. Papa Dee Allen collapsed and died on-stage of a brain aneurysm in 1988, leaving Jordan, Hammon, Oskar, and Scott as the core membership (Oskar would finally leave in 1992). Interest in War's classic material remained steady, however, thanks to frequent sampling of their grooves by hip-hop artists. 1992's Rap Declares War paired the band with a variety of rappers, paving the way for the 1994 comeback attempt Peace Sign; for that record, Brown returned on drums, and Jordan (now on bass), Scott, and Hammon were joined by saxophonists Kerry Campbell and Charles Green, percussionist Sal Rodriguez, harmonica player Tetsuya "Tex" Nakamura, and Brown's son, programmer Rae Valentine (plus guests Lee Oskar and José Feliciano). The album failed to chart, however, and the group returned to the touring circuit. Brown and Scott left the lineup in 1997. ~ Steve Huey, All Music Guide [-] Hide

Bloodstone was a key group in creating the shift from the R&B and soul group concepts of the '50s and '60s to the funk and black rock ideas of the '70s and afterward.

The group began in Kansas City, while the original members were in high school, as an a cappella doo wop group, the Sinceres, around 1962. They evolved with the... [+] Read More

Bloodstone was a key group in creating the shift from the R&B and soul group concepts of the '50s and '60s to the funk and black rock ideas of the '70s and afterward.

The group began in Kansas City, while the original members were in high school, as an a cappella doo wop group, the Sinceres, around 1962. They evolved with the decade, and by 1968 were ensconced in Las Vegas, playing lounges like many other soul minor leaguers (Sonny Charles & the Checkmates, most notoriously). From there, they went to Los Angeles and did the unexpected: They learned to play instruments and became a band (like the Clash and Steely Dan, they never did settle on a permanent drummer).

In fact, Bloodstone was a very good funk-soul group using the Hendrix-derived licks of Charles Love and Willis Draffen against multiple percussion ideas to underpin a vocal blend that still owed its soul to gospel and doo wop. (If this makes you think of the Isley Brothers of "That Lady," you're on the right track.)

Bloodstone received no record company interest in L.A., however, so at the advice of its manager, the group relocated to London in 1971. There, they teamed up with Mike Vernon, founder of the Blue Horizon label, who'd made his bones producing an album with the great Chicago pianist Otis Spann; white blues acts like Fleetwood Mac and Savoy Brown; and early Euro-rock with Focus. Vernon took Bloodstone into the studio and by early 1973, its debut single, "Natural High," had cracked the R&B and pop Top Ten, becoming the group's defining song.

Vernon produced the first five Bloodstone albums, which garnered seven Top 20 R&B singles, almost all of which made the pop Top 40. The group was a big concert draw, and its album sold well, if not spectacularly. Somehow, all of this was parlayed into a 1975 film deal. Train Ride to Hollywood is arguably the funniest picture of the whole '70s blaxploitation film boom, derived in equal parts from the Marx Brothers and such early spoofs as The Palm Beach Story and International House. Somehow, amidst the slapstick and the reefer jokes, Bloodstone wedges in a fairly complete history of black vocal harmony music from the Mills Brothers to the Coasters to their own bad selves. They do it even better on the soundtrack album. (All of the Vernon-produced Bloodstone albums contain versions of '50s and '60s oldies.)

The group then faded from popular view, despite a brief stint at Motown, until the early '80s, when it hooked up with the Isley Brothers' T-Neck and scored a commercially and artistically successful album, We Go a Long Way Back, produced by the Brothers. The title track returned them to the R&B Top Ten in 1982, but although several other T-Neck singles charted, the group's recording career essentially ended there. Nevertheless, this heartland group had made a significant mark and can lay fair claim to being one of the first to figure out its particular era's future. ~ Dave Marsh, All Music Guide [-] Hide

While not nearly as well remembered by the general public as either Sam Cooke or Otis Redding, singer Jesse Belvin was in many regards a performer of equal stature whose career was also cut far too short by tragedy. At the time of his death, Belvin was moving in the much the same direction as Cooke (he was even on the same record label, although... [+] Read More

While not nearly as well remembered by the general public as either Sam Cooke or Otis Redding, singer Jesse Belvin was in many regards a performer of equal stature whose career was also cut far too short by tragedy. At the time of his death, Belvin was moving in the much the same direction as Cooke (he was even on the same record label, although signed earlier), and was scoring and writing hits long before Redding ever cut a record.

Jesse Lorenzo Belvin was born in San Antonio, TX, in 1932. When he was five, his family relocated to Los Angeles, and by age seven he was singing in church. He discovered R&B in his early teens, and in 1950 joined jazz saxophonist Big Jay McNeely's backing vocal quartet Three Dots and a Dash. Belvin's falsetto was placed up front in his debut release, 1950's "All the Wine Is Gone"; the response was so strong that on the group's next record, his name was placed directly under McNeely's on the B-side, "Sad Story." In 1952, Belvin and bandmate Marvin Phillips signed to Specialty. They cut four singles: the first three -- "Baby Don't Go," "One Little Blessing," and "Love of My Life" -- were credited to Jesse Belvin, and all failed to chart. The last, "Dream Girl," which featured Belvin on piano and vocals with Phillips on saxophone, was credited to Jesse & Marvin, and got to number two on the R&B charts in 1953.

Unfortunately, just as it looked like Belvin's career was going to take off, he was drafted. While home on leave, he wrote a song called "Earth Angel," inspired by a young white woman who lived near him. The song was subsequently recorded by a semi-professional doo wop quartet called the Penguins and became one of the first R&B singles to cross over onto the pop charts, selling a million copies between late 1954 and early 1955. (A lawsuit later erupted over the authorship and origins of the song, which took almost two years to settle; Belvin was awarded one-third credit for the song, alongside the Penguins' Curtis Williams and a third singer who had a claim to writing it.)

Belvin was a prolific songwriter, but his business approach was rather cavalier. In a period in which millions of dollars were sometimes earned on a carefully protected copyright, Belvin wrote songs as a way of raising quick cash and often sold them outright to others for as little as 100 dollars. The result was dozens upon dozens of songs that Belvin was responsible for as writer and singer on the demo or guide track, few of which he actually received credit for. In 1956, he signed a long-term contract with Modern Records, and also continued to sing for other labels under assumed names, working in the background with other artists. Some of the Modern releases were credited to the Cliques, which was really Jesse Belvin and Eugene Church, but most were credited to Belvin alone.

It was with Modern that he cut his most enduring record. "Goodnight My Love" had been written by producer George Mottola ten years earlier, but he had never been able to finish it; Belvin provided the lines for the bridge that completed the song, but asked for 400 dollars in lieu of co-authorship credit. Mottola didn't have it, but a colleague, John Marascalco, did, and put up the money, receiving co-authorship credit in the bargain. The song reached number seven on the R&B charts in 1956; curiously, the pianist on the recording was an 11-year-old session player making his recording debut named Barry White, who would emerge as a giant in his own right about two decades later. More important at the time, "Goodnight My Love" became the outro theme to Alan Freed's rock & roll radio show, heard by millions of young listeners every night.

Belvin cut ten singles for Modern, of which "Goodnight My Love" was far and away the most successful. In 1958, he was again on the move, recording for Knight, Class, and Jamie Records under his own name, as well as for the Aladdin label in association with the Sharptones. His biggest success that year, however, came through a group called the Shields, which had been formed by George Mottola to record on his own Tender label. Adding his voice to the mix, Belvin joined the group, which also included Frankie Ervin on lead and Johnny "Guitar" Watson on guitar. The Shields' only record with Belvin was "You Cheated," which had already been cut by a white group called the Slades; the Shields' version was the more successful, reaching number 15 on the pop charts in the summer of 1958.

Around this time, Belvin's career took a decided upswing, in part with help from his wife Jo Anne, a fine songwriter in her own right who became his manager and took charge of his career. One of the first results was getting him signed to RCA Records; his first big success for the new label came in April of 1959 with the Top 40 hit "Guess Who." He finished his first album, Just Jesse Belvin, later in the year, developing a more mature studio sound and a somewhat more sophisticated singing style as well. Like Sam Cooke, who would follow him on to RCA with similar goals a short time later, Belvin began to realize that he had the potential to cross over to adult white audiences while keeping his original fans as well. For its part, RCA saw in Belvin the potential for another Nat 'King" Cole or Billy Eckstine: a powerful and charismatic performer; he had acquired the nickname "Mr. Easy" for his way with the ballads that increasingly made up his live sets.

In late 1959, with the encouragement of his wife and the support of producer Dick Pierce and arranger/conductor Marty Paich, Belvin went into the studio for three recording dates that yielded a dozen songs, among them intensely soulful covers of standards like "Blues in the Night," "In the Still of the Night," and "Makin' Whoopee." The band included Art Pepper on the sax and clarinet and Jack Sheldon on the trumpet, and the playing was extraordinary all the way around. Alas, Belvin never heard the finished album, Mr. Easy; on February 6, 1960, shortly after finishing a performance in Little Rock, AR, on a bill with Sam Cooke, Jackie Wilson, and Marv Johnson, Belvin and his wife were killed in a head-on auto collision. Mr. Easy was released later in 1960, his final testament and an enduring legacy. ~ Bruce Eder, All Music Guide [-] Hide

Cannibal & the Headhunters were one-hit wonders, but what a hit to have, if you're only going to have one: "Land of 1000 Dances." The group was also one of the first Mexican-American rock bands to have a national hit record, courtesy of that same tune. Founded by Frankie Garcia -- who reportedly earned his nickname "Cannibal" as a boy when he... [+] Read More

Cannibal & the Headhunters were one-hit wonders, but what a hit to have, if you're only going to have one: "Land of 1000 Dances." The group was also one of the first Mexican-American rock bands to have a national hit record, courtesy of that same tune. Founded by Frankie Garcia -- who reportedly earned his nickname "Cannibal" as a boy when he bit an opponent during a fight -- with Robert Jaramillo and Joe Jaramillo of East L.A. in the mid-'60s, the group grew out of a number of earlier bands, including the Rhythm Playboys and the Romanos. The Headhunters' version of "Land of 1000 Dances," written by Chris Kenner and Fats Domino, was issued on the Rampart label in early 1965 and peaked at number 30 on the charts, which got the group booked supporting the Beatles, among many other bands. Wilson Pickett later had the biggest hit version of the same song, reaching number ten, but dozens, perhaps hundreds, of versions were issued. The group's next single didn't do much, but the Land of 1000 Dances album did chart in mid-1965. The group later moved to Columbia's Date Records imprint (home of the Zombies' "Time of the Season"), and at the end of the 1960s they signed with Capitol Records, but found no more success. After a decade of doing oldies shows, Garcia and his then-current group of Headhunters called it quits in 1978, although he has since led other versions of the group in shows on the oldies circuit. ~ Bruce Eder, All Music Guide [-] Hide

Soul/funk journeyman Leon Haywood periodically dented the charts in the 1970s with hits that tapped into the grooves and musical hooks of the day's trends. An accomplished songwriter and arranger, Haywood never pretended to be an innovator, and his hits are cheerful derivations of '70s midtempo funk and romantic ballads, usually embellished by... [+] Read More

Soul/funk journeyman Leon Haywood periodically dented the charts in the 1970s with hits that tapped into the grooves and musical hooks of the day's trends. An accomplished songwriter and arranger, Haywood never pretended to be an innovator, and his hits are cheerful derivations of '70s midtempo funk and romantic ballads, usually embellished by smooth string charts. His best material recalled the late-'60s/early-'70s Motown sound; on the slower material in particular, his vocals bore a resemblance to those of Marvin Gaye.

Haywood's roots extend way further back than the '70s; he toured and recorded with R&B saxophonist Big Jay McNeely's band (which also backed Sam Cooke on the road) in the early '60s. In the mid-'60s, he had his first chart entry with "She's with Her Other Love" on Imperial. In 1967, he had a solid R&B hit (and small pop one) with "It's Got to Be Mellow," whose commercial soul sound betrayed his Motown influence.

He didn't come into his own as a solo artist until the mid-'70s, when he had big R&B hits with "Strokin'," "Come and Get Yourself Some," and "Keep It in the Family." His biggest single, "I Want'A Do Something Freaky to You" (with orgasmic female gasps and moans that made it pretty clear what "freaky" really meant), crossed over to the Top Twenty pop listings. The discoish "Don't Push It Don't Force It" was his biggest splash, making #2 R&B in 1980. After the mid-'80s, he eased out of the record business into business ventures; in the 1990s, he produced blues albums by Jimmy McCracklin and others on his own EveJim label. ~ Richie Unterberger, All Music Guide [-] Hide

A really solid dance album, and a great '60s party album, sparked by a lot more than just "Land of 1000 Dances." Among the 16 tracks here (which includes a version of "La Bamba" and covers of "My Girl, " "Shotgun, " and "The Boy From New York City"), there's not a bad number to be found. The sound quality is excellent, and the notes are pretty... [+] Read More

A really solid dance album, and a great '60s party album, sparked by a lot more than just "Land of 1000 Dances." Among the 16 tracks here (which includes a version of "La Bamba" and covers of "My Girl, " "Shotgun, " and "The Boy From New York City"), there's not a bad number to be found. The sound quality is excellent, and the notes are pretty thorough as well, and since it's unlikely that even Bear Family would do a box set on the group, this is probably as good as it's going to get. ~ Bruce Eder, All Music Guide [-] Hide

Grooves & Messages is another compilation from Rhino that recycles War's greatest hits and, like the previous collections, it contains most of the hits, but not all of them. The difference is, it actually has all the Top 10 pop hits and the majority of the Top 10 R&B hits (only "LA Sunshine" is missing), and it's sequenced in chronological order... [+] Read More

Grooves & Messages is another compilation from Rhino that recycles War's greatest hits and, like the previous collections, it contains most of the hits, but not all of them. The difference is, it actually has all the Top 10 pop hits and the majority of the Top 10 R&B hits (only "LA Sunshine" is missing), and it's sequenced in chronological order -- two important elements that were absent on The Best of War and its sequel, The Best of War & More, Vol. 2. Sounds perfect, doesn't it? The problem is, Grooves & Messages contains a bonus disc of remixes. There are a couple of big-name mixers here, including Armand Van Helden and Ganja Kru, but none of the mixes are of any interest. Furthermore, the casual fans that will want the first disc will have little use for the second. Still, that first disc is the best, most concise collection of War hits on the market, and Grooves & Messages is a specially priced double-disc set, so it may be worth the time of some casual fans, those willing to spend a little bit more to get a good hits collection. However, it would have been nicer if the first disc was available individually. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Bloodstone's stomping ground was Kansas City by way of Los Angeles and England, but the soul outfit sounded more like they were from Detroit by way of Philadelphia. While Motor City groups like the Temptations and the Dramatics were a major influence on Bloodstone, these soulsters also did some of their best work when they were thinking more... [+] Read More

Bloodstone's stomping ground was Kansas City by way of Los Angeles and England, but the soul outfit sounded more like they were from Detroit by way of Philadelphia. While Motor City groups like the Temptations and the Dramatics were a major influence on Bloodstone, these soulsters also did some of their best work when they were thinking more along the lines of the Moments, the Stylistics, and Blue Magic. A fine illustration of Bloodstone's flexibility, this 1997 release spans 1972-1982 and ranges from heavenly Thom Bell-ish ballads like "Natural High," "Outside Woman," and "Give Me Your Heart" to such funky, Detroit-minded smokers as "Take These Chains" and "Tell It to My Face." Very Best also gives you everything from the cutesy "My Little Lady" to the overlooked gem "Little Linda," which describes a young woman's addiction to hard drugs. The slicker, more disco-ish cuts (including "Train Ride") aren't as strong as some of the other material, but even at their second and third best, Bloodstone was enjoyable. And at their best, the group was outstanding. ~ Alex Henderson, All Music Guide [-] Hide

This 19-song collection on Mercury focused on his '70s output, including the hits "I Want'A Do Something Freaky to You," "Don't Push It Don't Force It, " "Come and Get Yourself Some, " "Keep It in the Family, " and other small singles. It also has his 1967 soul hit for Decca, "It's Got to Be Mellow." ~ Richie Unterberger, All Music Guide

This 19-song collection on Mercury focused on his '70s output, including the hits "I Want'A Do Something Freaky to You," "Don't Push It Don't Force It, " "Come and Get Yourself Some, " "Keep It in the Family, " and other small singles. It also has his 1967 soul hit for Decca, "It's Got to Be Mellow." ~ Richie Unterberger, All Music Guide [-] Hide

An excellent compilation of 14 of their best songs, including "Land Of A Thousand Dances" and "Chicano Power." They make a fair Latino Rolling Stones on "Empty Heart," "Everybody Needs Somebody," and "Whittier Blvd." (a thinly disguised reworking of The Stones' "2120 South Michigan Ave."); "That's All," "Dreaming Casually," and "Sad Girl" are... [+] Read More

An excellent compilation of 14 of their best songs, including "Land Of A Thousand Dances" and "Chicano Power." They make a fair Latino Rolling Stones on "Empty Heart," "Everybody Needs Somebody," and "Whittier Blvd." (a thinly disguised reworking of The Stones' "2120 South Michigan Ave."); "That's All," "Dreaming Casually," and "Sad Girl" are exceptional slow R&B ballads, and "Jump, Jive And Harmonize" is a tough garage-punk original. ~ Richie Unterberger, All Music Guide [-] Hide