Lost Fingers, Chaka Khan, Macy Gray

 
Date: 
Sat Jul 3 6:00pm
Ticket Price: 
Free Admission

6:15pm Lost Fingers
7:30pm Chaka Khan
9:30pm Macy Gray

Artist(s):

Singer, songwriter. Born Yvette Marie Stevens on March 23, 1953, in Chicago, Illinois. Known for her powerful voice, her great volume of curly hair, and her charismatic stage presence, Chaka Khan first exploded on to the music scene in the 1970s. She formed her first group, the Crystalettes, with her sister Yvonne when she was only 11 years old. Some of Khan's early musical heroines included Billie Holiday and Gladys Knight. The sisters later became involved in the Affro-Arts Theater and started another musical group known as The Shades of Black.

In 1969, Khan became active in the black power movement, joining the Black Panther Party and working on the organization's free breakfast program for children. Around this time, she took on a new name: Chaka Adunne Aduffe Yemoja Hodarhi Karifi. She also said good-bye to her formal education, dropping out from high school.

In the early 1970s, after performing with a few other groups, Khan joined the band Rufus, which had a strong R&B and funk sound. The world got its first taste of Khan’s powerhouse vocals when the group released its first self-titled album in 1973, which spawned such modest hits as "Whoever's Thrilling You" and "Feel Good." The follow-up album, Rags to Rufus (1974), was a smash commercially and critically. Stevie Wonder penned the hit single, "Tell Me Something Good," for them, which sold more than a million copies. The group also scored a Grammy Award for best R&B Vocal Performance by a Duo, Group or Chorus for the song in 1974.

Rufus, which was renamed Rufus featuring Chaka Khan and then Rufus & Chaka, continued to have a number of successes over the coming years. Khan helped write their number one hit, "Sweet Thing," climbed to the top of the charts in 1975. Later hits included "Do You Love What You Feel" and "Ain’t Nobody."

While she recorded with Rufus until the early 1980s, Chaka made an impressive debut as a solo artist in the late 1970s. In 1978, she released Chaka, which featured the hit "I’m Every Woman," which was written by Nicholas Ashford and Valerie Simpson. In an odd twist of synchronicity, she won two Grammy Awards as a solo artist and one as a member of Rufus in 1983.

The next year, however, Chaka the solo artist reigned supreme. Covering a Prince song, she reached the top of the R&B, hip-hop, and dance charts with "I Feel for You." Featuring one of the most famous rap cameos of all time by Mel Melle, the infectious track incorporated elements of rap, R&B, and electronic dance music. It also won her another Grammy Award in 1984. Other hits from the album included "This Is My Night" and "Through the Fire."

Although she continued to make music, Khan saw her popularity decline in the late 1980s and 1990s. Her albums may not have been selling as much as they had previously, she was still producing critically acclaimed music. She won a Grammy Award in 1990 for her duet with the legendary Ray Charles on "I’ll Be Good to You" and another one in 1992 for "The Woman I Am."

This acoustic trio based in Quebec city plays standards of the gypsy jazz repertoire (à la Django Reinhardt) as well as their arrangements of hits of the 80'. Their young history as a band has already seen them opening for the french guitarist Patrick Saussois and playing in three international music festivals (including ten nights at the Montreal International Jazz Festival), as well as playing live on several television and radio shows.

At the start of 2009 and ten years into her career, Macy Gray found herself a free agent and on the verge of "The Sellout.” Sure, she sold 15 million albums, scored two Grammy Awards, two MTV awards and with “I Try,” had one of the most successful singles of all time, but after 2007’s Big, she found herself alone, with no one to answer to but herself. Big was the slickest album of her career and she considered going even further away from the true, gritty, whiskey-voice Macy, following instead of leading. In other words, selling out.

“I thought after Big flopped maybe I should do what everyone else was doing,” she says. “Go out and hire the hottest producers, the best writers, get real skinny. But none of those people called me back.”

For Gray, it was an ego-bruising wallop that left her bewildered and irritated at relationships that turned out to be more fair weather than everlasting. “I was terrified, I didn’t know what to do,” she says. “You have all these people telling you how dope you are and then they just go away.”

Chastened, Gray went back to her comfort zone, toiling in the studio with a select group of friends and musicians. A studio owner in Tarzana gave her a dirt-cheap deal on space and for months she went in and pushed herself to come up with new material. As the new songs took shape, that feeling of rejection gave way to a steely resolve to reestablish herself as one of music’s dominant singers. “When I was on my own, I was making songs that I liked,” she says. “It was my own money, I didn’t have to go play it for someone. I wasn’t someone’s employee.”

The resulting effort – aptly titled The Sellout (Concord Records) – is a return to form for Gray, perhaps her finest album to date, but one that propels her sound forward rather than looking longingly at the past. Sure, there are classic-Macy pop-soul stylings in tracks like “Lately,” but she branches out on tracks like the epic stadium rock-stomper “Kissed It” (featuring a blistering guitar solo from longtime friend Slash) or the Prince-like slow funk jam “Stalker” that wouldn’t be out of place on Sign O’ The Times.

According to Gray, many of the songs started out with a four-on-the-floor dance beat, but then, “everyone started doing it and I needed to stay true to who I am.” That shows up on the album’s first single, the breezy “Beauty In The World” which started out as a David Guetta-style house track but switched after Gray turned it into more of a rollicking peace & love sing-a-long. “You get bombarded with opinion and expectations and what other people want and you forget what you do well,” she says. “That song is what I do well.”

Gray also clearly ups her game in the lyrics department, filling out the portrait of herself as an artist. Many of her songs have her trademark wit (check out the horny banter between her and guest Bobby Brown on the steamy “Real Love”) but others are more agonizing, whether it’s the deeply confessional “On And On” or the making amends of “Still Hurts.” “I was depressed,” she admits. “I had been through two or three relationships in that time so my love life wasn’t going well. Last year was a real bummed out time.”

But leave it to her three teenage children to put things in perspective. “Beauty” was inspired by her daughter who one day Macy overheard laughing hysterically in the next room. “I was having a really bad day and I heard my daughter just cracking up in the next room,” she recalls. She has this really great laugh and I didn’t even know what she was laughing at. I thought ‘at least she’s happy.’ And I felt at least I hadn’t failed there, because my daughter’s happy.”

Despite the rejection, the uncertainty and the heartache, The Sellout is a total triumph and success. It’s a testament to Gray’s resolve and songwriting chops that the material feels so honest and authentic but yet effortless, moving seamlessly from one track to the next. There’s nothing forced, nothing that feels out of place. Fittingly, the album ends with the anthemic track, “The Comeback,” a bookend declaration of things accomplished and the hope for better things to come:

“Hey big world it’s me again/I’m coming way back to be big again.”

“I just poured my heart out,” she says. “I didn’t set out to have a theme, but when I put them all together it was a picture of my life in that time. I’m dying for people to like it.”

It’s the comeback. And The Sellout. And it proves that Gray has no intention of fading away.

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