Stevie Wonder
Creepin’
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Released in 1974

TLC
Creep
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Released in 1994

Scala & Kolacny Brothers
Creep
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Released in 2010

This time on Musical Cousins: three totally different songs with three totally different takes on the word “creep.”

First up, Stevie Wonder’s haunting “Creepin’,” featuring backup vocals from Minnie Riperton. In this song, creep refers to the stealth way a lover invades the dream world. The melody is typical Stevie perfection, but the moody, off-kilter synth floating underneath hints at something less rosy.

In TLC’s 1994 single, “Creep,” the Atlanta trio and producer Dallas Austin made a buoyant R&B/pop classic dedicated to cheating on the one you love.

The last take on the word “creep” comes from an early Radiohead composition where the creep in question is the song’s self-hating narrator. I prefer Scala & Kolacny Brothers’s cover, used to great effect in the trailer for The Social Network. Dozens of post-pubescent Belgian girls singing in unison truly is creepy.

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.

I Want You Back (Z-Trip Remix)
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Don’t Stop ‘Til You Get Enough (Original Demo)
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I Can’t Help It (Tangoterje Remix)
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Rock With You (House Remix)
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They Don’t Care About Us (DJ Lt. Dan Remix)
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Don’t get me wrong. I had only a grain-of-sand sized belief that Michael Jackson would ever be relevant to my life again, at least from a musical perspective. Certainly, the tabloid drama that was his life continues to enthrall, but it never overshadowed the breathtaking catalog of recordings that he drove into creation.

It’s only been a week since he died, but I already feel everything has been said about the impact Jackson had on the culture. But when I hear “ABC” or “Wanna Be Startin’ Somethin’” or “Off The Wall” or dozens of other classics, I can’t help but think back to my DJ days and the countless times Jackson saved my ass by energizing the dancefloor. The soul sickness that caused his life to devolve into an overdose of painkillers will soon be a distant memory.

The tracks I selected are not meant to be Michael Jackson’s greatest hits. But given that most people already have the entirety of Off The Wall and Thriller on their iPods, I thought I would share some outtakes and remixes of his work.

First up is a remix of “I Want You Back” that was on the Motown Remixed comp from a few years back. Normally, I’m not much of a Z-Trip fan, but he deftly tweaks the construction of this track, adding a new drumbeat but leaving the underlying groove intact. This version really highlights the interplay between 10-year old Jackson’s passionate vocals and his brothers’ smooth background harmonies.

A demo of “Don’t Stop ‘Til You Get Enough” that appeared on an Off The Wall reissue provides a glimpse into Jackson’s recording process. Musically, the song lacks the lavish disco strings and brass overdubs, and Jackson was clearly still figuring out the lyrics. But you can hear this version and know it’s a hit song.

“I Can’t Help It” was written for Jackson by Stevie Wonder. This mellow remix by Tangoterje was pointed out to me by my Berlin-based friend, Pepe (thanks amigo, see you in a couple of weeks). Unlike Z-Trip (who had access to the original master recording), Tangoterje is working off the completed recording, yet he figures out a way to turn this lush mid-tempo ballad into a soulful, percussive booty-shaker.

The white-label remix of “Rock With You” is one of those dirty house records that I happened upon in my crate-digging days. Every once in awhile, I’d have a gig where I worked with a house DJ. This was always a bit stressful for me since I had a pretty limited selection of house records. This track satisfied the jaw-grinding set while staying true to my funk/R&B/hip hop roots.

The final track is also the strangest, and the only one I enjoy more than its original. “They Don’t Care About Us” is not one of Michael’s best songs, and the ill-worded “Sue me, Jew me… Kick me, Kike me” lyric is amongst Jackson’s stupidest moves. But this chopped and screwed mashup hits on so many levels. This remix style is often associated with downers (specifically, codeine-laden cough syrup), which is resonant given the cause of Michael Jackson’s death. And though his vocal style became increasingly staccato as his career progressed, slowing it down and marrying it with that addictive Dead Prez “Hip Hop” beat is just plain tough. Finally, laying on a quote from attorney Mark Gregaros in response to Jackson’s child molestation charges adds an ominous justification for the song’s bitter lyrics.

Hope you’re finally at peace, MJ.