The “hell naw!” was a reference to Bishop Bullwinkle’s “Hell Naw To The Naw Naw,” the novelty-hit sensation of 20, and a reminder of how swiftly the current of change can raise an artist into headliner status and just as swiftly sweep him away, as Bishop Bullwinkle faded from the touring scene in 2018. “But the crazy thing about the whole story,/ With all the wrong I’ve done,/ She left me with all these cars and houses.” More than a few listeners, especially the men, must have wondered why their divorces couldn’t have concluded in such a benign denouement.Īs for the women, in the song, ”That Bitch Ain’t Me,” a re-invention of Etta James’ “I’d Rather Go Blind,” southern soul chanteuse Karen Wolfe sang, “You thought that things would be better,/ I’m happy for you all,/ So quit texting my phone/ Saying, ‘Can I come home?’/ Hell naw!” In ”The Blame” new singer Fat Daddy (who wasn’t fat) described himself as an unfaithful man sitting in his “lonely room” wishing for his woman to come home. Heavy’s most musically satisfying opus of raunch, “Sweet Dick Johnny,” featured James phlegmatically growling the best opening line of the year: “She was big and yellow (pronounced ‘yella’)/ With some real big thighs.” And soon after: “Built just like her mama,/ Real bad attitude,/ But I still tell her what to do.”įrequently the fact the lyrics didn’t make ready sense added to a record’s mystery and allure. Highway Heavy, the Louisiana maestro behind two of the last half-decade’s top-rated songs, Pokey Bear’s “My Sidepiece” and Cold Drank’s “Three,” returned with a new and even more flamboyant artist, Johnny James, and some of the most wildly carnal lyrics since Clarence Carter’s “Strokin’” and Theodis Ealey’s “Stand Up In it.”
Lyrics, in fact, were a road map to the year’s most durable themes. Nice wrote in his August '18 critique) "for 1/ recognizing a once-in-a-lifetime classic when he hears it, and 2/ being brave enough to record it in a no-frills, pop-balladeer style (acoustic guitar, strings, piano), putting the emphasis squarely on the naked vocal." "Southern Soul fans should be proud of Charles," (Daddy B. In “Squeeze Me,” the song that blended the best of the new and old Sir Charles, the troubadour sang, “Said it’s been three years now,/ And you still don’t see/ How much you mean to me./ I know, baby, I’m a man./ He did you wrong,/ But don’t make me pay/ For the other man’s mistakes."Īnd in “100 Years” Charles opined, “When God made a soul/ He split that soul in two./ He gave half to me,/ And the other half to you./ As fate would have it,/ The day came when we met./ Friends called me Romeo/ And you Juliet./What are you doing/ For the next one hundred years?” Whether “The Masterpiece” was the crowning achievement of the King of Southern Soul’s career was debatable-fans would probably still give “Love Machine” that honor-but there was no disputing the quality of the lyrics, which eclipsed “Love Machine’s” youthful yearnings with the ruminations of a grown man. The song was so steeped in Sir Charles Jones musical lore it could have graced “The Masterpiece”. Sir Charles was also a prime influence for artist P2K Dadiddy’s 5-star-rated debut album, “Welcome To The Boom Boom Room,” which included an outright Sir Charles homage, “Soul Brothers Moonshine,” a collaborative effort (Sir Charles, P2K and Jeter Jones) on which Charles also sang the opening verse. The singles “Step It Out” (with Prince Damons), “Squeeze Me,” “Call Me” (with Calvin Richardson and Omar Cunningham)” and “100 Years” charted #1 (January), #1 (May), #2 (May) and #1 (August) respectively on Daddy B. The hubristic title raised sky-high expectations and begged comparisons to “The Love Machine,” the classic that launched Jones’ career. 2018: THE YEAR IN SOUTHERN SOUL In addition to a bevy of collaborations for which he’s always been in the highest demand, top-rated recording artist Sir Charles Jones dominated 2018 with a new album, “The Masterpiece”. Nice's Top 100 Countdown: The New Generation (Chart In Progress) Best Of 2018: The Year In Review - Southern Soul Music Artist - Southern Soul RnBīest Of 2018: The Year In Review Daddy B.
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