theAudience said:

sam and dave's so nice, you listed 'em twice.

Handclapsfingasnapz said:

I did, didn't I. (corrected)

Well they are!


Thanks.


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

theAudience said:

You listed quite a few twice.

PurpleCharm said:

You diss Automatic?!?

That song can count as electro-funk.

TonyVanDam said:

America?!?
(especially the live version?)


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

theAudience said:

http://www.youtube.com/wa...%20America

TonyVanDam said:

Good find Tony. That's what i'm talkin' about.

Eric Leeds and Eddie M kicking that horn line.
That's how you raise the FUNK MONSTER.


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

How the hell are the Prince songs chosen to be on this list his funkiest?

PurpleCharm said:

There isn't a 'maybe' about it, you do need a lesson my friend, but if you could feel it you wouldn't even need to ask such a silly question - I would just leave it alone.

TonyVanDam said:

At least , that's how i feel about those .
There are absolutely great choices in the list .
Problem with these lists i think is that it's so hard to choose one particular track .
Guess it's based on overall opinion , choice and what's been sold mostly in the commercial mainstream consumer's market .
Personally , i can hardly make a definitive list , cause many of these artists have a rich catalogue of tracks to be left out of such lists .
.
.
.
[Edited 7/11/06 11:36am]

Kung Fu Fighting and NO "I wanna take you higher"?

125. No Parking (On the Dancefloor) - Midnight Star

- Tuff - 1981
- Standing Together - 1981
- I've Been Watching you - 1981
- Hot Spot ( featuring Bootsy ) - 1982
- Freak-A-Zoid - 1983
- Operator - 1984

Sorry, but I stopped believing in that list when I saw that "Kung Fu Fighting" was ranked higher than "SOTT", "Word Up" and "Kiss".

Oh, and "LRC" is a great song, but I think it's as funky as "Venus De Milo".

LittleBLUECorvette said:[quote]

TonyVanDam said:

LittleBLUECorvette said:

More a Fake of Funk , imo

http://www.youtube.com/wa...%20douglas

Let's mix it with Hot Chocolate's Sexy Thing or some Boney M .

There's some great songs on the list but my favorites are down midways and toward the bottom of the list.

ccollin88 said:

That's the thing that makes FUNK special, it's all a matter of ones opinion. I'll take these Rick songs over More Bounce:

Come Into My Life
Give It To Me Baby
Money Talks
Dance With Me
Cop-N-Blow
High On Your Love
Ghetto Life

Abdul said:

I must say that Bounce is defenitely a winner .
The intro already launches it into the high registers of funkthrillness .

29. Shining Star - Earth, Wind, & Fire
- Jupiter - 1977
- Let Your Feelings Show - 1979
- Magic Mind - 1977
- Saturday Night - 1976


30. Got To Give It Up Part I - Marvin Gaye
- Inner City Blues
- Sanctified Lover - 1984/1985


32. Dazz - Brick
- Sweat - 1981


35. Do It ('Til You're Satisfied) - B.T. Express
- Stretch - 1980


37. You Sexy Thing - Hot Chocolate


50. Right Off - Miles Davis
- Decoy - 1984
- You're Under Arrest - 1985


84. Slide - Slave
- Dreamin'- 1980
- Dance - 1983
- Foxy Lady - 1979
- Funkentown - 1981
- Party Lites - 1981
- Sizzlin' Hot - 1980
- Stellar Fungk - 1978
- Stone Jam - 1980


85. Ffun - Con Funk Shun
http://www.prince.org/msg/8/194861


86. Word Up - Cameo
pffff , is that it ? ... what a joke .
Shit , where to begin ? ... 2 much .. i'll try :

- Funk Funk - 1976
- C On The Funk - 1977
- Insane - 1978
- I Just Want To Be - 1979
- Cameosis - 1980
- On The One - 1980
- Shake Your Pants - 1980
- Throw It Down -1980
- Rollerskates - 1980
- Keep It Hot - 1980
- Knights By Nights - 1981
- Freaky Dancin' - 1981
- Don't Be So Cool - 1981
- The Soundtable - 1981
- Be Yourself - 1982
- Flirt - 1982
- Enjoy Your Life - 1982
- Soul Army - 1982
- Aphrodisiac - 1983
- Cameo's Dance - 1983
- Slow Movin' - 1983
- Style - 1983
- She's Strange - 1984
- Talking Out The Side Of Your Neck - 1984
- Groove With You - 1984
- Single Life - 1985
- Attack Me With Your Love - 1985
- You Can Have The World - 1986
- She's Mine - 1986
- Fast , Fierce & Funny - 1986
- Skin I'm In - 1988
- In The Night ( featuring Miles Davis ) - 1988
- Nan Ye - 1990
- Emotional Violance - 1992
- Front Street - 1992
- In The Face Of Funk - 1995
- Slyde - 1995
- Nasty - 1996
- Sexy Sweet Thing - 2000
- You Make Me Crazy - 2000


87. Too Hot to Stop - The Bar-Kays
- Holy Ghost
- Move Yor Boogie Body
- Shake Your Rump To The Funk
- Traffic Jammer


89. I Found Lovin' - The Fatback Band
much rawer tracks on the same album :

- He's A Freak , Undercover - 1983
- I Just Want To Your Lover - 1983
- I Love Your Body Language - 1983
+
- Evil - 1985
- Sequence 96 - 1985


90. Cutie Pie - One Way
- How Do You Do
- Push - 1981
- Give Me One More Chane - 1982
- Can I - 1982
- One Of Us - 1982
- Sugar Rock - 1983
- Mr. Groove - 1984
- Dynomite - 1984
- Smile - 1984
- Serving It - 1985
- Let's Talk - 1985
- Set It Out - 1986


108. Shine On - George Duke
- Funny Funk - 1974
- That's What She Said - 1975
- Carry On - 1977 ( also greatly re-done by Flora Purim , accompanied by Al )Jarreau
- Scuse Me Miss - 1977
- Sing It - 1977
- Reach For It - 1977
- Dukey Stick - 1978
- Look What You Find - 1979
- Games - 1979
- Pluck - 1979
- Party Down - 1979
- Positive Energy - 1982
- Ride On Love - 1982
- Son Of Reach For It - 1982
- Reach Out - 1983
- Shane - 1983
- Silly Fighting - 1983
- Gotta Get Back To Love - 1984
- Secret Rendezvous - 1984
- Stand With Your Man - 1986


114. Funkin' for Jamaica - Tom Browne
- I Never Was A Cowboy - 1979
- Browne Sugar - 1979
- Martha - 1980 ( also with Toni Smith who sang on Funkin' )
- Thighs High ( Grip Your Hips And Move ) - 1981
- Bye Gones - 1981
- Brighter Tomorrow - 1983
- Mr. Business - 1983


115. Juicy Fruit - Mtume
- Green Light - 1983
- Hip Dip Skippa Da Beat - 1983
- Hips - 1983
- Would You Like To Fool Around - 1983
- Your Love's To Good To Spread Around - 1983
- I Simply Like - 1984
- Prime Time - 1984
- Tie Me Up - 1984
- To Be Or Not To Bop - 1984
- New Face Deli - 1986


116. All Night Long - Mary Jane Girls
- Boys - 1983
- Wild & Crazy Love - 1985

118. Behind the Groove - Teena Marie
- Square Biz

120. (Fallin' Like) Dominoes - Donald Byrd
- Love Has Come Around - 1981

123. Let It Whip - The Dazz Band
- Freaky Lovin' - 1981
- Let The Music Play - 1981
- Can You Dance - 1982
- Party Right Here - 1982


126. Jungle Love - The Time
- Cool - 1981
- Get It Up - 1981
- The Stick - 1981
- The Walk - 1982
- Wild & Free - 1982
- 777-9311 - 1982
- Grace - 1982
- Tricky - 1984
- My Drawers - 1984
- The Bird - 1984
- Jerk Out - 1990
- Pandemonium - 1990
- Skillet - 1990
- Blondie - 1990


127. Meeting in the Ladies Room - Klymaxx
- Never Underestimate The Power Of A Woman - 1981
- Girls Will Be Girls - 1982
- Wild Girls - 1982
- Don't Hide Your Love - 1982
- Heartbreaker ( I'm Such A Mess ) - 1982


128. Nasty Girl - Vanity 6
- If A Girl Answers , Don't Hang Up ( nastayest bass )


138. Get Down on It - Kool & The Gang
( Their 70's shit was tighter ... still have to get that stuff together ... Sesame Open , etc )


158. Joy and Pain - Maze feat. Frankie Beverly
- Southern Girl - 1980
- Before I Let Go - 1981
- Right On Time - 1983
- Back In stride - 1985
- Too Many Games - 1985


160. Actions Speak Louder Than Words - Hot Chocolate

173. Can You Help Me? - Jesse Johnson
- She's Too Much - 1985


187. Atomic Dog - George Clinton & The P-Funk Allstars
- Get Dressed - 1982
- Loopzilla - 1982
( " don't touch that radio , don't touch that radio , don't touch that noooooB )

- Man's Best Friend - 1982
- Nubian Nut - 1983
- Last Dance - 1983
- Double Oh Oh - 1985
- Do Fries Go With That Shake - 1986
- Hey Good Lookin' - 1986
- Martial Law - 199?
- Summer Swim - 199?


191. Sun is Here - Sun
- Jammin' In Brazil - 1981
- Slam Dunk The Funk - 1982
- Dance , Let's Shake It Tonight - 1984
- Legs - 1984

[Edited 7/13/06 9:08am]

paligap said:

ride on bro' ... great list !

funkymf said:

This thread has been cool and fun so far, but as usual, someone always has to waltz up in a thread with some boolshit comment. I don't have to leave anything alone and I will ask whatever questions I want to ask. Do you have a problem with that?

sextonseven said:

Ouch! (Joe Tex & Roy Ayers)

That's because they're twice as funky I guess.
Yeah, that's the ticket.


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

PurpleCharm said:

X-actly . Evry-1 learns from evry-1
That's what this Org is all about .
Where's the fun to know everything already anyway ?


Okay Purple , Let's go Wikipedia :

Funk is a distinct style of music originated by African-Americans, e.g., James Brown and his band members (especially Maceo and Melvin Parker), and groups like The Meters. Funk best can be recognized by its syncopated rhythms; thick bass line (often based on an "on the one" beat); razor-sharp rhythm guitars; chanted or hollered vocals (as that of Marva Whitney or the Bar-Kays); strong, rhythm-oriented horn sections; prominent percussion; an upbeat attitude; African tones; danceability; and strong jazz influences (e.g., as in the music of Miles Davis, Herbie Hancock, George Duke, Eddie Harris and others).

Contents :

- Characteristics
- History
- Origin of funk
- James Brown and funk as a genre
- 1970s and P-Funk
- 1980s and stripped-down funk
- Recent developments




Characteristics

Compared to funk's predecessor, the soul music of 1960s, funk typically uses more complex rhythms, while song structures are usually simpler. Often, the structure of a funk song consists of just one or two riffs. Sometimes the point at which one riff changes to another becomes the highlight of a song. The soul dance music of its day, the basic idea of funk was to create as intense a groove as possible.

One of the most distinctive features of funk music is the role played by bass guitar. Before soul music, bass was rarely prominent in popular music. Players like the legendary Motown bassist James Jamerson brought bass to the forefront, and funk built on that foundation, with melodic basslines often being the centerpiece of songs. Notable funk bassists include George Porter, Jr., Bootsy Collins, Louis Johnson and Larry Graham of Sly & the Family Stone. Graham is often credited with inventing the percussive "slap bass technique," which was further developed by later bassists and became a distinctive element of funk.

Some of the best known and most skillful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Maceo Parker are among the most notable musicians in the funk music genre, both having worked with James Brown and George Clinton. Many funk musicians were directly reacting to the increasingly complex structure of Bebop and Modern Jazz. Modern Jazz was becoming so complicated that there could be 4 chord changes per measure, creating a dizzying rapidfire movement through key centers and themes. Funk virtually abandoned chord changes, creating static single chord vamps with little harmonic movement, but with a complex and driving rhythmic feel. Jazz was, in turn, strongly influenced by funk in the 1970s, beginning with Miles Davis, the founder of the jazz fusion movement, and his former pianist Herbie Hancock.

In funk bands, guitarists typically play in a percussive style. "Dead" or muted notes often are used in riffs to strengthen percussive elements. Jimi Hendrix was the pioneer of funk rock and his improvised other-worldly solos influenced Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic. Eddie Hazel, who later worked with George Clinton is one of the most notable guitar soloists in funk. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown.


History

Origin of funk

Look up funk in Wiktionary, the free dictionary.The word "funk", once defined in dictionaries as body odor or the smell of sexual intercourse, commonly has been regarded as coarse or indecent. African-American musicians originally applied "funk" to music with a slow, mellow groove, then later with a hard-driving, insistent rhythm because of the word's association with sexual intercourse. This early form of the music set the pattern for later musicians. The music was slow, sexy, loose, riff-oriented and danceable. Funky typically described these qualities. In jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank ("stink"/funk) on it!" At least as early as the 1930s, jazz songs carried titles such as Buddy Bolden's "Funky Butt." As late as the 1950s and early 1960s, when "funk" and "funky" were used increasingly in the context of soul music, the terms still were considered indelicate and inappropriate for use in polite company.

The distinctive characteristics of African-American musical expression are rooted in West African musical traditions, and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel and blues. In more contemporary music, gospel, blues and blues extensions and jazz often flow together seamlessly. Funky music is an amalgam of soul music, soul jazz and R&B.


James Brown and funk as a genre

Only with the innovations of James Brown in the late 1960s was funk regarded as a distinct genre. In the R&B tradition, these tightly rehearsed bands created an instantly recognizable style, overlaid with catchy, anthemic vocals. Brown changed the rhythmic emphasis from the two-four beat (or backbeat) of traditional soul music to a one-three emphasis -- but with a hard-driving, brassy swing. This pumping, one-three beat became a signature of classic funk. Often cueing his band with the command, "On the one!" previously associated with West African poly-rhythmic musical forms, diverse rhythms that all came together on one beat (which found its way through New Orleans during the slave era, was incorporated into military marching bands, picked up by pop/R&B artists, and thus diffused. In fact, JB hired a drummer from an R&B performer specifically for his intricate poly-rhythmic capability, which ultimately changed his music). While James Brown's 1965 Top 10 King Records hit "Papa's Got a Brand New Bag" is widely presumed to be the song that paved way for the funk genre, much of Brown's work in 1965 and 1966, though remarkable, still maintained the rhythms and approach found in earlier records. It was the #1 R&B hits "Cold Sweat" in 1967, "I Got The Feelin'" and "Say It Loud, I'm Black And I'm Proud" in 1968 that further defined the feel of funk. R&B #1's "Give It Up Or Turn It Loose" and "Mother Popcorn" in 1969 continued to solidify the tight rhythms, riffs and grooves for which funk music is known, setting the standard for James Brown's future work and the rising wave of funk to come in the 1970s.

Other musical groups picked up on the riffs, rhythms, and vocal style innovated by James Brown and his band, and the style began to grow. Dyke & the Blazers based in Phoenix, Arizona released "Funky Broadway" in 1967, perhaps the first record to have "funky" in the title. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band were releasing funk tracks beginning with their first album in 1967, culminating in their classic single "Express Yourself" in 1970. The Meters defined funk in New Orleans starting with their Top Ten R&B hits "Sophisticated Cissy" and "Cissy Strut" in 1969. Another group who would define funk in the decade to come were The Isley Brothers whose funky 1969 #1 R&B hit, "It's Your Thing", signaled a breakthrough in African-American music bridging the gaps of the rock of Jimi Hendrix and the upbeat soul of Sly & the Family Stone.


1970s and P-Funk

In the 1970s, a new group of musicians further developed the "funk rock" approach innovated by Jimi Hendrix. George Clinton, with his bands Parliament and, later, Funkadelic, produced a new kind of funk sound heavily influenced by jazz and psychedelic music. The two groups had members in common and often are referred to singly as "Parliament-Funkadelic." The breakout popularity of Parliament-Funkadelic gave rise to the term "P-Funk," which both referred to the music by George Clinton's bands and defined a new subgenre.


George Clinton with rainbow dreads at the VH1 Fashion Awards."P-funk" also came to mean something in its quintessence, of superior quality, or sui generis, as in the lyrics from "P-Funk," a hit single from Parliament's album "Mothership Connection":

"I want the bomb. I want the P-Funk. I want my funk uncut."
The 1970s was probably the era of highest mainstream visibility for funk music. Other prominent funk bands of the period included The Brothers Johnson, Earth, Wind & Fire, Bootsy's Rubber Band, The Meters, Tower of Power, Ohio Players, The Commodores, War, Kool & the Gang, Confunkshun, Slave, Cameo, Midnight Star, Lakeside, the Bar-Kays, Betty Davis, Zapp, and many more.

Two bands in particular, Earth, Wind & Fire and Tower of Power, took the rhythmic power of funk and added to it more complex song forms, combined with large scale instrumentation -- large horn sections, latin percussion, numerous capable soloists. These bands sold many records and brought the funk ethos to a larger audience.

Already, in late 1960s, many jazz musicians — among them Horace Silver, Herbie Hancock (with his Headhunters band), Grover Washington, Jr., and Cannonball Adderley, Les McCann and Eddie Harris — had begun to combine jazz and funk. Sometimes this approach is called "jazz-funk". Additionally, in the late 1960s work of Miles Davis (with girlfriend/wife Betty Davis) and Tony Williams helped to create Jazz fusion and influenced funk.

Funk music was exported to Africa in the late 1960s, and melded with African singing and rhythms to form Afrobeat. Fela Kuti was a Nigerian musician who is credited with creating the music and terming it "Afrobeat".

Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, for example "Le Freak" by Chic, included riffs or rhythms very similar to funk music.


1980s and stripped-down funk

In the 1980s, many of the core elements that formed the foundation of the P-Funk formula began to be usurped by machines. Horns were replaced by synths, effectively phasing out horn sections, and the horns that remained were simplified from the patterns and hooks of the earlier funk sound. Horn solos were out. The classic keyboards of funk, like the Hammond B3 organ and the Fender Rhodes piano began to be replaced by the brash sound of new digital synthesizers like the Yamaha DX7. Drum machines began to replace the "funky drummers" of the past, and the slap and pop style of bass playing began to fall out of favor, often replaced by thinner sounding and rhythmically simpler keyboard bass. The lyrics and hooks of funk began to change from often suggestive and using double entendre to more graphic and sexually explicit. Rick James was the first funkateer of the 80s to assume the funk mantle dominated by P-Funk in the 70s. His 1981 album Street Songs with the singles "Give It To Me Baby" and "Super Freak" resulted in James becoming a bit of a rock star, and paved the way for the future direction of explicitness in funk. Prince, using a stripped-down instrumentation similar to Rick James, went on to have as much of an impact on the sound of funk as any one artist since James Brown. Prince combined eroticism, technology, an increasing musical complexity, and an outrageous image and stage show to ultimately create a musical world as ambitious and imaginative as P-Funk or The Beatles. The Time, originally conceived as an opening act for Prince and based on his "Minneapolis sound", went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.

Bands that began during the 1970s P-Funk era incorporated some of the uninhibited sexuality of Prince and state-of-the-art technological developments to continue to craft funk hits. Cameo, Zapp, The Gap Band, The Bar-Kays, and The Dazz Band all found their biggest hits in the 80s, but by the latter half of the 80s, funk had lost its commercial impact.

Afrika Bambaataa influenced by Kraftwerk created "Electro Funk", a minimalist machine-driven style of funk with his single "Planet Rock" in 1982. Also known simply as Electro, this style of funk was driven by synthesizers and the electronic rhythm of the TR-808 drum machine. The single "Renegades of Funk" followed in 1983.


Recent developments

While funk was all but driven from the radio by slick commercial R&B and New Jack Swing, its influence continued to spread. Rock bands began adding elements of Funk to their sound, creating new combinations of "funk rock" and funk metal. Jane's Addiction, Red Hot Chili Peppers Prince, Primus, Fishbone, Faith No More, and Rage Against the Machine spread the approach and styles garnered from funk pioneers to all new predominantly white audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the underground mid-1990s funkcore movement.

Artists like The Brand New Heavies and Me'shell Ndegeocello carried on with strong elements of funk in the 1990s, but never came close to reaching the commercial success of funk in its heyday.

Today, hip hop artists regularly sample old funk tunes. James Brown is said to be the most sampled artist in the history of hip hop. P-Funk also is sampled frequently — samples of old Parliament and Funkadelic songs formed the basis of West Coast G Funk. Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon. Dr. Dre (considered the progenitor of the G-Funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelic funk: "Back in the 70s that's all people were doing: getting high, wearing Afros, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album The Chronic and based my music and the concepts like I did: because his shit was a big influence on my music. Very big".[1]

Funk is a major element of certain artists identified with the Jam band scene of the late 1990s and 2000s. Medeski Martin & Wood, Galactic, Soulive, and Karl Denson's Tiny Universe all drawing heavily from the funk tradition. Vermont-based Phish went through a period of funky jams which fans refer to as their "cow funk" stage.

Since the mid 1990s the New Funk scene, centered around the Deep Funk collectors scene, is producing new material influenced by the sounds of rare funk 45's. Labels include Desco, Soul Fire, Daptone, Timmion, Neapolitan, Kay-Dee, and Tramp. Bands include Sharon Jones & The Dap-Kings, The Soul Destroyers, Speedometer, The Poets of Rhythm, The Neapolitans, Quantic Soul Orchestra, The New Mastersounds and Lefties Soul Connection. These labels often release on 45 rpm records. Although specializing in music for rare funk DJ's, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on Late Night with Conan O'Brien.

Also you might wanna check these :

http://www.kalilight.com/...kshow.html

http://www.kpfa.org/1pro_..._histo.htm

http://www.rickeyvincent.com/



That's it so far
Peace & 4ever funkin' on
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.
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[Edited 7/11/06 11:49am]

My favorite by Sun is "Reaction Satisfaction (Jam Y'all, Funk It Up)" from 1981.

vainandy said:

Straight up yeah , solid one

Also forgot Long Drawn Out Thang from 1978

sextonseven said:

yeah...tell me about it....I mean come on...There are other Prince songs that fit the "funk" more more than "Doves..." and "Corvette..."...I mean, "Controversy," "Let's Work," "Head," Erotic City," "Kiss," (which should have been higher) ect, ect....And yeah....Rick James should have been higher....

"Radiation Level" and "Flick My Bic" are two more good ones.

Thanks 100 MPH.
[Edited 7/11/06 12:00pm]

Starpoint had a very funky jam in 1981 called "Keep On It". Much more funky than their later stuff.

More jams that definately should be on the list are:

Funtown USA - Rafael Cameron
Boogie's Gonna Get You - Rafael Cameron
Work That Sucker To Death - Xavier
So Ruff, So Tuff - Roger
Something About You - Ebonee Webb

PurpleCharm said:

You're welcome

vainandy said:

Aaiight !

- Shake It Out - 1981
- Get Your Body Up - 1982
- Miracle Love - 1982
- Show Me - 1982
- Bring Your Sweet Loving Back - 1982
- Put Your Love On Me - 1982
- It's Serious - 1983
- It's So Delicious - 1983
- It's All Yours 1984
- Use Me - 1984 ( their funked-up version of Bill Wither's original )

vainandy said:

Raphael's Funtown USA is dangerous .
The Japanase CD re-issue from a few years back has been remastered well .
I believe Unidisc in Canada also re-issued some Cameron-stuff , including extended mixes .

There is an exact copy of Roger's So Ruff So Tuff , but without the electronic talk-box .
West Coast Pop Lock by Ronnie Hudson & The Street People



Other Ebonee Webb ones that come to mind :
- What's That You're Doing - 1983
- Here My Love Is - 1983
- Cold Blooded Lady - 1983
- Are You Really Ready - 1983
.
.
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[Edited 7/11/06 13:42pm]