Pony (Extended Version)
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Released in 1996

Timbaland is among the all-time great hip hop/R&B’s producers, and Ginuwine’s “Pony” was one of his first big hits. Like many Timbaland tracks, it’s held up flawlessly over the years.

Timbaland takes pride in fusing together unlikely elements in service of a slamming, unique beat. The most dominating sound on “Pony” is a deceptively simple three-note froglike bassline. But it’s the weirdness that takes the track to another level — the loopy slide whistle, the way he lets the beat breathe during the verses, the chugging percussive sound that lurks underneath.

The lyrics are ridiculous, but you have to admire the complete lack of shame:

If you’re horny, let’s do it
Ride it, my pony

Unbelievably, the lyrics go even further downhill from there, but I’ll refrain from calling attention to the specifics here; regardless, it’s impossible not to sing along.

Recently, Dancing Alone to Pony became a meme. Dozens of brave boogiers uploaded lo-fi video to show their genuine love for Ginuwine’s classic. This one is my current favorite:

The extended version doesn’t overextend itself. There’s an additional instrumental passage which introduces some vaguely ominous keyboard elements into the mix, but otherwise leaves the original intact.

Driven To Tears
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When The World Is Running Down, You Make The Best Of What’s Still Around (Different Gear Remix)
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Voices Inside My Head
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Album: Zenyatta Mondatta (1980)

For an album that the band itself isn’t particularly satisfied with, Zenyatta Mondatta sure has some gems on it. The accepted story is that The Police were pressured to complete the record prior to going on a world tour, despite the band’s grumblings. Regardless, Zenyatta Mondatta succeeds due to the trio’s chemistry, songwriting, and musicianship.

Zenyatta Mondatta‘s biggest hits were the terrific “Don’t Stand So Close To Me” and the idiotic “De Do Do Do, De Da Da Da.” More interesting are the dancefloor classics that captured a band willing to broaden their sound.

“Driven To Tears” is a propulsive, reggae-tinged jam that gives each band member a chance to shine. Stewart Copeland (who I learned was American — I thought they were all Brits?) provides steady yet adventurous support for Sting’s unusually melodic bass skills and Andy Summers face-melting guitar solo.

In the shoddy music video for “When The World Is Running Down, You Make The Best Of What’s Still Around” below, there’s a stretch taken from a live performance, and demonstrates The Police were even more exciting on stage than on record:

Instead of the original version, I’m featuring a 2000 remix credited to an outfit called Different Gear. Originally released as a bootleg, Zenyatta Mondatta‘s rightsholder facilitated an official release. Different Gear adds some tasteful house beats behind the original groover, but keeps the core track intact.

“Voices In My Head” was a disco smash, and can still move the crowd some 30 years later. It feels unfinished — especially lyrically — and may be one example of why The Police were frustrated with their deadline. Even so, it’s effective as a (mostly) instrumental exploration of one killer riff.

So what the hell does Zenyatta Mondatta mean? Nothing much, apparently. Stewart Copeland explains, “It’s not an attempt to be mysterious, just syllables that sound good together.” Agreed.

Ain’t No Fun (If the Homies Can’t Have None)
Snoop Doggy Dogg w/Nate Dogg, Kurupt, Warren G
Released in 1993
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Oh No
Pharoahe Monch w/Nate Dogg, Mos Def
Released in 2000
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The Set Up (Remix)
Obie Trice w/Nate Dogg, Redman, Lloyd Banks, Jadakiss
Released in 2004
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Sad to hear of Nate Dogg’s recent passing. Nate wasn’t the first singer to provide R&B-style hooks on rap records (TJ Swan, perhaps?), but I can’t remember any R&B/hip hop hybrid prior to Nate’s 1992 appearances on Dr. Dre’s The Chronic that didn’t inflict collateral damage to anyone’s street cred.

Nate Dogg’s lyrics could be offensive to some, and his music isn’t for everybody. But even feminists like to get down to Snoop Dogg’s raunchy yet irresistible “Ain’t No Fun (If the Homies Can’t Have None).” Dr. Dre’s thumping, feel-good production provides a sneaky contrast to a bunch of really dirty verses from Kurupt, Snoop, and Warren G. But it’s Nate’s lengthy, sing-along vocal intro that lifts “Ain’t No Fun” to 5-star classic status.

Nate was clearly a product of Los Angeles’s G-funk scene, but he garnered respect from coast to coast. His chorus in the Rockwilder-produced “Oh No” (featuring fiery verses from Mos Def and Pharoahe Monch) says it all:

Look at who they let in the back door
From Long Beach to Brooklyn they know

Until I started working on this post, I didn’t realize Dr. Dre (along with Mike Elizondo) produced Obie Trice’s “The Set Up.” Not a surprise, though, considering how much this beat kills. Lyrically, there’s plenty of misogyny to go around from Obie Trice, Redman, Lloyd Banks, and Jadakiss, and though Nate is by no means soft, the fact that he’s singing takes some of the edge off.

Though his output dropped as he battled through multiple strokes, Nate contributed to dozens of hits through the 90s and into the aughts. Hope he’s ready for the next episode…

Let No Man Put Asunder
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Love Having You Around
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Dr. Love (Tom Moulton 12″ Mix)
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Album: Delusions (1977)

The onset of spring makes disco bloom on my hi-fi. And though it has its place, I’m not talking about the commercial disco I wish I heard at Studio 54; I’m talking about the soulful proto-house disco I wish I heard at the Paradise Garage. One of the best examples of the latter is First Choice’s Delusions LP.

Annette Guest and Rochelle Fleming founded First Choice when they were still Philadelphia high school students. Rochelle reminisces:

Our success didn’t hit us until graduation night. We were marching down the aisle and the principal of the school said he wanted to congratulate First Choice… then the whole graduation class just stood up and hollered and screamed.

Five years later, as disco was starting to dominate the pop landscape, First Choice (Rochelle, Annette, and new member Ursula Herring) released Delusions. In hindsight, First Choice is perceived as more of a singles act rather than album artists. Delusions, however, is a fairly consistent collection of songs, thanks in part to the lush production from MFSB’s rhythm section: Ron Baker, Norman Harris, and Earl Young.

“Let No Man Put Asunder” wasn’t released as a single initially. But 10 years after it was recorded, Shep Pettibone remixed “Let No Man Put Asunder” to huge success at the clubs:

The remix is a big improvement, thanks to the airtight rhythm and masterful mixing. But it sounds like Rochelle Fleming re-recorded her vocals, and I miss the soulful idiosyncrasies she contributes to the original.

“Love Having You Around” is the rare Stevie Wonder cover that improves upon the original:

I feel sacrilegious admitting that I prefer the looser, more euphoric vibe in First Choice’s 5-star classic version — Stevie Wonder is as close as it gets to a spiritual figure in my life.

“Dr. Love” is über-disco: over-the-top orchestrations, hard-driving drums, and risqué lyrics. Wisely, for the 12″ remix, they handed the reels over to legendary producer/remixer Tom Moulton. Moulton was a pioneer of “mixing down” — stretching out and weaving together the musical building blocks of the recording to improve danceability, and facilitate blending between different records. His original “Dr. Love” remix proved to be a bit too much for First Choice, and a shorter, edited version was used for the official 12″. This version appeared on a compilation a few years back, and you can hear how much fun Moulton had in exploring the different movements of the song.

Thanks to the fervid remixing of their records, First Choice sailed through the disco era and continued to keep party people dancing as house music started to take shape. They’ve reformed a couple of times since then, and Rochelle Fleming continues to belt out First Choice classics.

The Phunky Feel One (Extended Version)
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How I Could Just Kill A Man (The Killer Mix)
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Released in 1991

Sometimes, I get mad. These tracks help get the aggression out.

There is no B-side on this 12″; both of these tracks are 5-star classics, and murder on the dancefloor.

‘Nuff said.