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R&B was experiencing a year of transition in 1983. Soul music was evolving into urban contemporary, R&B producers were becoming increasingly high tech, and horn funk was losing ground to synth-funk and electro-funk. Also, the hip-hop factor could not be overlooked -- some old-timers insisted that hip-hop was a passing fad, but younger R&B producers realized that rap was becoming the music of choice for many young African Americans and paid close attention to hip-hop production techniques. Inevitably, all of these things affected Cameo. Released in 1983, Style is more high-tech than 1979's Secret Omen or 1980's Cameosis but not as high-tech as 1985's Single Life or 1986's Word Up! It is also an LP that finds singer/producer Larry Blackmon leading a downsized Cameo -- while the band had ten members at the start of the 1980s, it only has four on Style: Tomi Jenkins, Charles Singleton, Nathan Leftenant, and Blackmon himself. (And by Single Life in 1985, Cameo would only be a trio.) Having cut way back on the horns on Style, Blackmon makes sure that keyboards and synthesizers play a major role on snappy funk items like "Cameo's Dance," "Aphrodisiac," "Slow Movin'," and the hit title song. On Cameo's late-'70s albums, keyboards took a back seat to horns -- on Style, it's just the opposite. Even on a remake of the standard "Can't Help Falling in Love" (a ballad that had been recorded by everyone from Elvis Presley to Doris Day), Cameo is more technology-minded. Style isn't among Cameo's essential albums, but it's an enjoyable effort that will appeal to die-hard fans.
© Alex Henderson /TiVo
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Larry Blackmon, Producer, ComposerLyricist - Charles Singleton, ComposerLyricist - Thomas Michael Jenkins, ComposerLyricist - Nathan David Leftenant, ComposerLyricist - Cameo, MainArtist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer, ComposerLyricist - Charles Singleton, ComposerLyricist - Thomas Michael Jenkins, ComposerLyricist - Nathan David Leftenant, ComposerLyricist - Cameo, MainArtist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer, ComposerLyricist - Charles Singleton, ComposerLyricist - Thomas Michael Jenkins, ComposerLyricist - Nathan David Leftenant, ComposerLyricist - Cameo, MainArtist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer - GEORGE DAVID WEISS, Author, Arranger, Work Arranger - Hugo Peretti, Author, Arranger, Work Arranger - Luigi Creatore, Author, Arranger, Work Arranger - Cameo, MainArtist - Jean-Paul-Egide Martini, ComposerLyricist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer - Charles Singleton, ComposerLyricist - Cameo, MainArtist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer, ComposerLyricist - Charles Singleton, ComposerLyricist - Thomas Michael Jenkins, ComposerLyricist - Nathan David Leftenant, ComposerLyricist - Cameo, MainArtist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer, ComposerLyricist - Charles Singleton, ComposerLyricist - Thomas Michael Jenkins, ComposerLyricist - Nathan David Leftenant, ComposerLyricist - Cameo, MainArtist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer, ComposerLyricist - Charles Singleton, ComposerLyricist - Thomas Michael Jenkins, ComposerLyricist - Nathan David Leftenant, ComposerLyricist - Cameo, MainArtist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer, ComposerLyricist - Charles Singleton, ComposerLyricist - Thomas Michael Jenkins, ComposerLyricist - Nathan David Leftenant, ComposerLyricist - Cameo, MainArtist
℗ 1983 UMG Recordings, Inc.
Larry Blackmon, Producer, ComposerLyricist - Charles Singleton, ComposerLyricist - Thomas Michael Jenkins, ComposerLyricist - Nathan David Leftenant, ComposerLyricist - Cameo, MainArtist - Kevin Lloyd "King" Kendrick, ComposerLyricist
℗ 1983 UMG Recordings, Inc.
Presentación del Álbum
R&B was experiencing a year of transition in 1983. Soul music was evolving into urban contemporary, R&B producers were becoming increasingly high tech, and horn funk was losing ground to synth-funk and electro-funk. Also, the hip-hop factor could not be overlooked -- some old-timers insisted that hip-hop was a passing fad, but younger R&B producers realized that rap was becoming the music of choice for many young African Americans and paid close attention to hip-hop production techniques. Inevitably, all of these things affected Cameo. Released in 1983, Style is more high-tech than 1979's Secret Omen or 1980's Cameosis but not as high-tech as 1985's Single Life or 1986's Word Up! It is also an LP that finds singer/producer Larry Blackmon leading a downsized Cameo -- while the band had ten members at the start of the 1980s, it only has four on Style: Tomi Jenkins, Charles Singleton, Nathan Leftenant, and Blackmon himself. (And by Single Life in 1985, Cameo would only be a trio.) Having cut way back on the horns on Style, Blackmon makes sure that keyboards and synthesizers play a major role on snappy funk items like "Cameo's Dance," "Aphrodisiac," "Slow Movin'," and the hit title song. On Cameo's late-'70s albums, keyboards took a back seat to horns -- on Style, it's just the opposite. Even on a remake of the standard "Can't Help Falling in Love" (a ballad that had been recorded by everyone from Elvis Presley to Doris Day), Cameo is more technology-minded. Style isn't among Cameo's essential albums, but it's an enjoyable effort that will appeal to die-hard fans.
© Alex Henderson /TiVo
Acerca del álbum
- 1 disco(s) - 10 pista(s)
- Duración total: 00:35:44
- Artistas principales: Cameo
- Compositor: Various Composers
- Sello: Mercury Records
- Género Soul/Funk/R&B R&B
© 1983 UMG Recordings Inc. ℗ 1983 UMG Recordings Inc.
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