Trouble Funk -- "Hey Fellas" (1982)

Hey fellas

Do you want to take time out

To get close to the ladies?

One reviewer has written that Trouble Funk's best songs "consist of an irresistible beat and an unforgettable phrase" – which sums up "Hey Fellas" very well.

"Hey Fellas" is one of the happiest songs I know – it is very hard to maintain your bad mood when this song is playing. (Believe me, I've tried.)

This is another song I know about only because of my public library – I can't imagine I would have stumbled across it otherwise. (I've now added a "library" label to each post about a song that I discovered that way. I've also added "not about me" and "all about me" labels to distinguish the posts that are mostly about the music from those that are mostly about me. This is an increasingly rare "not about me" post.)

It's on The Sugar Hill Records Story, a five-CD box set that has the essential hits released by Sugar Hill Records, the New York City-based label that brought rap/hip-hop to the masses.

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Trouble Funk was a Washington, DC go-go band, and its first album was released by Sugar Hill in 1982 – it was, in the words of Gyrofrog creator Joe Castleman, "an opportune moment in musical history which straddled the apogee of disco and the burgeoning of rap." 

 Why go-go never really caught on outside of Washington is something of a mystery. Wikipedia has a very good article on the history of go-go and the musical characteristics that defined the genre, and I recommend it as a good starting point for those who know as little about go-go as I do.

From Gyrofrog's review of the Live CD:

Trouble Funk's go-go sound is characterized by call-and-response interplay with the audience, as well as lots and lots of percussion (as critic John Leland has noted, "in no other North American music does the cowbell play such a major role").  Like earlier funk bands, Trouble Funk features several horn players, as well as a scratchy rhythm guitar . . . . Additionally, since the music is made for dancing, the emphasis is on rhythm, rather than melody ; the horn and keyboard riffs re-emphasize the beat more than the tune . . . . Other than the heavy interaction with the audience, the vocal style is essentially identical to early rap.  Therefore, the main difference between go-go and rap music seems to be that go-go employs a full band; why go-go has not caught on as well as hip-hop has is quite puzzling.

Unique to go-go is the use of not only standard conga drums but also "junior congas," which are 8" and 9" in diameter and about half as tall as the standard congas, a size rarely seen outside of go-go:

According to Wikipedia, they were first used by Rare Essence when they were just getting started and couldn't afford enough full-sized congas, and have become ubiquitous in the go-go scene ever since.

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Washington had a very rich and diverse local-music scene in the early 1980's, highlighted by go-go and the "straight edge" hardcore punk movement. Trouble Funk occasionally shared the stage with "harDCore" bands like Minor Threat. I lived in DC during that era, but I pretty much missed all that -- I certainly never ventured into the venues where go-go and hardcore bands played.

I have a feeling that Trouble Funk must be mentioned in one or more books by Washington novelist George Pelecanos. He drops the names of many, many worthy local bands.

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Two brief anecdotes. I have a friend who went to Vassar College (class of '89) and says that Trouble Funk played on campus when he was a student there. Not exactly the band's usual audience. 

 (When my oldest son was looking at colleges, this friend told me he should go to Vassar because the Princeton Review college guide had said Vassar had the happiest students in the country. When I told him that wasn't really one of my primary criteria in choosing a college for Nick, he looked me in the eye and said in a very serious tone of voice: "Don't you want your son to be happy?")

Another friend has a daughter who used to sneak out to local go-go shows when she was 15 or 16 and had to lie about her age to get admitted to the clubs. (Sometimes the apple doesn't fall far from the tree.)  

When she returned home after attending a Trouble Funk show in Langley Park, MD, one night, she somehow neglected to mention that there had been shots fired outside after the show.  

There are some things your parents don't really need to know. 

[NOTE: My friend later told me that her daughter may have been attending a Backyard Band show when she heard the gunshots – not a Trouble Funk show.  But it makes a better story if we say it's Trouble Funk, and 2 or 3 lines is not exactly The New York Times when it comes to journalistic standards.]

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Trouble Funk is still around. Until recently, they played every Friday night at a Holiday Inn in Alexandria, VA.

Here's a link to a July 2009 Washington Post review of a Trouble Funk appearance at the 9:30 Club in DC, which unfortunately attracted only 200 or so fans.

Click here to watch the first 10 minutes or so of that show. (For some reason, the band always seems to start their shows with their horns playing the theme song from The Andy Griffith Show.)

That show paid tribute to one of the band's founders, Robert Reed, who had recently succumbed to pancreatic cancer.  Here's his New York Times obituary.

Click here to listen to “Hey Fellas.”

Click on the link below to buy the record from Amazon:

System of a Down -- "Lost in Hollywood" (2005)

They take you, and make you

They look at you in disgusting ways

You should have never trusted Hollywood

Life can be pretty random. 

If you don't think so, just look at your husband/wife or boyfriend/girlfriend. (That's assuming you have one, of course).  How did you meet him/her?  

The odds are that the meeting was such a fluke, seemingly mere happenstance – perhaps the result of the flap of a butterfly's wings in Brazil – that a slight alteration in any one of about a million events would have caused enough of a divergence in your paths that you would never have encountered one another. 

Of course, some would say that fact that there were incredible odds against that particular outcome actually taking place is the best proof that it was not the result of chance, but destiny.

That explains how I became aware of today's featured song.

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Like much of the music I have on my computer, I got System of a Down's Mesmerize CD through my local public library. 

I don't recall ever hearing the band's music on the radio or seeing anything about them on TV.  I can only assume that I searched for and requested Mesmerize because I came across the name of the band or the CD on some music review site – maybe on a "Top 100 CDs of 2005" list or something like that.

After downloading the CD, I don't recall ever listening any of the songs on it until last Saturday, when we were buried by the Mother of All Snowstorms.  Somehow five songs from Mesmerize had ended up on my iPod shuffle, and came up while I was shoveling the driveway.  (Four of them were great, and the fifth wasn't bad.)

This is the final song on the CD, and it's about an archetypal "young man from the provinces" who goes to the big city to seek his fame and fortune. 

 Unfortunately, we know what happens to all those strays who end up in Los Angeles: they end up working as waiters in vegetarian restaurants, playing in bands that never get any real gigs, and checking out each other's hairstyles.

I'm a sucker for songs about Los Angeles. Forget the traffic and the tacky, temporary-looking buildings, and the generally ugly, dried-out landscape – it's the center of the popular culture world, and popular culture is so much more important than serious culture.  (Sorry, New York City!)

Click here to listen to "Lost in Hollywood."  It's a stick of dynamite from beginning to end.

Click here to see System of a Down performing the song live in Rio de Janeiro in 2015.

And click on the link below to buy "Lost in Hollywood" from Amazon: