The Voice: Brenda Bennett Talks 2 Beautiful Nights

 Brenda Bennett's signature tone stands alone in the cannon of the Minneapolis Sound.

The singer, best known to Prince fans for her powerhouse lower-register vocals and tough-as-nails image, made her mark on songs like "Blue Limousine," "A Million Miles (I Love You)" and "Bite the Beat." She can also be heard singing lead on the original demo for what later became the classic Prince B-side "17 Days" and on the "Manic Monday" demo, originally intended for the Apollonia 6 album, but later released by The Bangles in 1985 to great acclaim.

 Bennett was born in Scotland and comes from a musical family: both her parents and her brothers, Brian and Bruce, played instruments. She began her career as a back-up singer with Ken Lyon and the Tombstone Blues Band in 1973 and the band released one album, "Ken Lyon and Tombstone," on CBS Records in 1974. However, the band was dropped by their label before a completed second album was released and their attempts to secure another contract proved unsuccessful. The group disbanded in 1975, according to princevault.com.

 She was brought into Prince's camp by then-husband Roy Bennett, who began working as the star's lighting and stage designer during the Dirty Mind Tour in the early 1980s. She worked as the artist's wardrobe mistress for a time before being tapped to join the sexually-charged girl group Vanity 6, along with Susan Moonsie and Vanity. The act was rechristened Apollonia 6 when Vanity departed to pursue a solo career and the revamped trio was featured in the film "Purple Rain" before calling it quits in 1985.

 Bennett took a nearly 20-year hiatus from the music industry to focus on raising her son, Dylan. She returned with the solo album "A Capella" and posted several videos on YouTube to accompany the opus in 2011. She released the single "Guiltier" in 2013 and her newest song, "Private Party," will be released sometime this year.

  K Nicola Dyes conducted an e-mail interview with Bennett where the singer/songwriter discussed filming the unreleased "Mr. Christian" video project, the artist who inspired her to begin creating music again and one thing Prince always told her:

The most important thing I learned from my family was how to be independent and how to survive. I come from a background of very limited financial means. We had to learn to improvise and be creative with stretching the dollar in as many directions as we could.

Pursuing a musical career wasn't something I set out to do. I still feel to this day, that the Lord had his hand on my shoulder and said "Okay, now you're going to go in THIS direction." It was something I fantasized about, but really didn't think was within my reach.

Music was very much a part of my life growing up. A number of people in my family, including my parents and their friends, played an instrument. I can recall joining my parents many times when they got together with their friends on the weekend for good, down-home country jam sessions. There was always a variety of instruments: banjo, washtub bass, spoons, sweet potato and, as always, lots of guitars. My parents were country musicians, although my mom liked to listen to a variety of music. She was the one who exposed me to some light jazz, show tunes, classical and rock n' roll.

When I joined Ken Lyon and the Tombstone Blues Band, I had been hiking Europe on a backpacking trip for nearly six months. When I arrived back in the [United] States I had nothing, but one thin American dime in my pocket--just enough to call my mother collect and tell her I was back and on my way home. Sybilla Hyde, the other female vocalist in Tombstone, was a friend of mine who, as it turned out, was trying to track me down to offer me a position with the band as a back-up singer. The band had landed a recording contract with CBS Records and needed another female vocalist in the lineup. I'd never been in a band before, but had background experience of learning harmonies in the choir at school. I felt I was ready for anything after some eye-opening adventures in Europe. Of course, not having any money, a job or a place to live was a good incentive to give it a try.

Sybilla and Brenda on stage live with Tombstone in 1974.

I met Roy Bennett in the fall of 1974. Tombstone had been on tour opening for Mott the Hoople and Queen and I was home during a break before we did our next leg. Some local musician friends of mine had joined a band from the Baltimore/Washington D.C. area--the name of the band was Face Dancer--and they were in town doing a couple of gigs. I was free to go see them and that's where I met this tall, adorable, sexy young man named Roy.

Opening for Queen was an experience I'll never forget. The tour opened in Denver. The record company had sent us there a couple of days ahead of time for rehearsals and to get used to the thin mountain air. I had no idea what to expect having never heard of the group before, but after their first sound check and rehearsal, well, I nearly fell off the bleachers when I heard their vocals-- not to mention their superb musicianship. I became very close to them and still find myself shedding a tear from time to time over Freddie Mercury's demise.

Growing up, you're always getting advice from one direction or another: from your teachers at school; from church; from your parents. There were some excellent words of advice that came my way that I've never forgotten and have passed down to my son. The one thing that stands out in my mind is when I had the pleasure of meeting and speaking with Keith Urban after a show he did at the Chevrolet Theatre (now the Oakdale Theatre) in Connecticut. I had been toying around with the notion of getting back into music now that my son was older and found I had more time to myself. Also, time had gone by since the untimely passing of my younger brother and later, my mother. I finally felt like I could "stick my toes into the water" again and test it out. Keith very simply said to me "If it's in your heart to do it, baby, then you gotta do it."

Roy landed his first lighting designer/stage designer gig working for Prince, a new, up-and-coming young Black artist. It was the beginning of the Dirty Mind Tour (and) they were at The Ritz (a famous rock club) in New York City and Roy asked me to join him there. There was something very special about this new artist and Roy wanted me to meet him. The day after my arrival, Roy and I were leaving the hotel to head over to The Ritz when we found out John Lennon had been shot the night before. I felt AWFUL, being The Beatles fan that I was, and I hoped my sorrow wouldn't show when I met Prince. When I laid eyes on Prince for the first time, I remember thinking there indeed was something about him that I felt drawn to. I couldn't put my finger on it. It was very elusive, but attracting all at the same time. Once I saw his show and heard his music, I had to agree with Roy that there was something very special about this man and his music. (I) felt he was going to be tremendously successful.

Recording Reflections:

If a Girl Answers Don't Hang Up: Don't know if the public is aware of it or not, but "If a Girl Answers" was one of the first rap songs by a girl group.

Bite the Beat: This was in the early days working on the first Vanity 6 album. One of the things that stands out to me was Jesse Johnson, from The Time, playing the high-end organ part on a toy organ pad hooked through the main board. Very humorous and fun times recording that song.

People always tell me how surprised they are when they hear the sound of my voice. They don't expect so much sound to come out of a little person. Plus, I have a very distinct sound to my voice and people seem to be taken aback by that as well.

The thing I love about my singing voice is the tone. I have a warm, full, spicy sound to my voice. I've never considered myself a technically great singer. I certainly could never compare to accomplished vocalists like Celine Dion or Mariah Carey, but their music is totally different (from) what I do.

Being in the spotlight: it's wonderful; it's fun; it's glamorous; it's all of the fantastic things you have ever read or heard. It also is very invasive. For someone like me who values her privacy, being in the spotlight can be very demanding. It's the price you pay for fame. There are a lot of expectations put on you when you're in the spotlight. People tend to have preconceived notions of who YOU are and what you're really like. Sometimes, when you can't live up to their fantasies, when they find you're really only human after all, disappointment sets in. Being in the spotlight is something you better be very sure (you want) if you're going to set your feet on that path.

Vanity 6 in Detroit at a party after a show on the 1999 Tour, with Prince and The Time, at Joe Louis Arena

Prince and I had planned on working on a solo record, a project away from what I was doing with Apollonia 6, but it never seemed to get off the ground. There was so much going on at that time: The Family (album) coming out; Prince working on more film projects; Apollonia resuming her acting career. With all the changes going on, I started looking in different directions to do a solo project on my own.

When we shot the long-form video for the Apollonia 6 album...Presumably, you are talking about the "Mr. Christian" video project. The project was a concept of doing an extended EP per se, only in a video format as opposed to an audio EP: take one of the songs from the album ("Happy Birthday, Mr. Christian"); write a story line around the subject of that song and incorporate other songs from the album into the story to create a mini movie. It was a great idea and the project was a lot of work, but fun. I'm just sorry that it didn't get completed and released. Someone out there got their hands on it and released it on YouTube in its unfinished version. It created a lot of cult interest and keeps appearing from time to time.

Apollonia 6

Prince always told me, "Brenda, you could be singing in a choir of 200 people and I'd still be able to pick out your voice."

Recording Reflections:

17 Days: Love, love, love the song. I have a recording of it when I did the song for the second Vanity 6 album. I wish that one had come to fruition.

Manic Monday was never my cup of tea: too "popish" for me. (I'm) glad The Bangles had a hit with it. I don't think Apollonia 6 would have.

Brenda's son, Dylan, at photo session for work he did designing armour at Rhode Island School of Design

The inspiration for my "A Capella" CD came from a variety of sources. I had put my music career aside when I found myself pregnant with my son. I didn't want to raise him on the road, so I put my guitar away and became a stay-at-home mom. However, once a singer/songwriter ALWAYS a singer/songwriter. I would still pick up my pen and notebook and jot down my ideas and lyrics. When my son got older, I found I had more time to myself-- for myself. I took my guitar out, started putting some of those ideas and lyrics into action and just worked at it a little bit at a time. When I was approached to join the rest of the old Tombstone band for a concert honoring Ken Lyon and his 40 years in the music business, I thought the Lord had his hand on my shoulders once again. Lori Lacaille was one of the people I worked with on that show. It was through her insistence that I stepped into her WolfBear Studios and started laying some tracks down on the songs I had written. My son, Dylan, is the main source of my inspiration in continuing to write. 

Recording session for the "A Capella" album

I would have to say the foremost musical influences in my life, that inspired me to sing and play, are The Beatles. I saw a film clip of them performing for Queen Elizabeth in London about four months before they came to America to do The Ed Sullivan Show. I got chicken skin when I heard their music and I haven't looked back since.

Contrary to what people may think, my "image" in Vanity 6 and Apollonia 6 was a part I played, a character I can identify with. Having grown up a tomboy, I was able to relate and meld into the part of the tough-nut, cigarette-smoking, punk persona I portrayed. But, deep down, I'm just a fuzzy bunny.

My experience filming "Purple Rain" is one that stays with me. I'm a movie nut and have aspirations to write, direct and act in a few films--I have fantastic story lines, too. My mom took me with her to see some of the big classics: "Ben-Hur;" "The Ten Commandments;" "Gone with the Wind." It was through her influence that I got hooked on the world of visual storytelling. I was lucky to be part of the "Purple Rain" film and experienced what it was like behind the scenes and how a film was put together. I thought, "Uh-oh, movie over music," she says with a smile.

Susan Moonsie is very dear to my heart and I feel very blessed to remain close friends with her. She is a beautiful woman, inside and out. Months will go by where we haven't spoken. Yet, when we do, it's still--after all this time--as if we spoke just yesterday. I miss her terribly and wish we saw each other more often.

My new song "Guiltier"...Actually, that's not my newest, but the new one hasn't quite come out yet. "Guiltier" is part of a project I am working on with Charlie Mason, a fine writer from New York. He contacted me through the videos I put on YouTube from the "A Capella" disc and asked me to work with him as a vocalist on some of his songs. I liked what I heard from the mp3 he sent me, but let it ride for quite some time. It wasn't the kind of music I was interested in doing at the time. I had come out with "A Capella," a project with my own songs and, as anyone who listened to the music from that disc would agree, "Guiltier" wasn't something that "matched." Charlie was patient, persistent and finally won me over. I met him in New York and we recorded "Guiltier" in [Greenwich] Village. I had a great time working on it and also on the newest (song) that will be released soon, "Private Party," both of which are on Ninth Wave Records.

I've taken taken a hiatus from music at the moment. I have some new songs in the can, but I haven't gotten around to recording them yet. I DO want to do another disc. Out of all that goes into music, I have to say being in the studio recording is my favorite. I enjoy the whole process of writing, creating new stories and performing them live with my favorite musicians, but I'm happiest when I'm in the studio "cooking." I have a couple of projects I'm working on, movie wise, and hope to see some results from those efforts.

One of the dream projects I have always had was to write and record with--and these two guys are from different ends of the spectrum--Paul McCartney and Keith Urban. Keith was the spark that lit the flame of my creativity again after all my years of hibernating. Out of the four Beatles, Paul is the one I always wanted to sit down and sing with. I think we'd sound great.

Recording Reflections:

Blue Limousine was a bluesy song I liked from the start. (I) loved working with Susannah Melvoin on the vocals to it. The blend and sound of our voices together (was) amazing.

A Million Miles (I Love You) and Some Kind of Lover: I found the inspiration for both of these through my love affair and marriage to Roy Bennett.

People would be surprised to know I swam naked in the pond at Max Yasgur's farm during the Woodstock Festival in 1969.

I try not to look back, always forward. However, when I take a peek, I'm amazed at the life I have been blessed to have and it's not over yet! You're never too old to reinvent yourself. There are some stories and times that will be covered in a biography I have started an outline for--stay tuned for THAT one.

In the future I want to continue with my music and art. See if I can't get a film project or two off the ground, continue with the outline of my biography and I'd like to work with my son. He's an amazing talent. I hope and expect that he will go far with his art.


Stay Beautiful, Kristi

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All photos courtesy of Brenda Bennett.

New Power Soul: Dru Chen Talks 2 Beautiful Nights

  

  Dru Chen is teaming up with Beautiful Nights USA and Purple Funk Australia to bring his old-school inspired soulful sounds to a new audience.    
  Chen was recently been added to the lineup of "The Ultim8 Prince Party," an event hosted by Beautiful Nights USA and Purple Funk Australia at 9 p.m. Nov. 22, Room 680, Melbourne, Australia. The night will also be the official CD release party for Heroine December's new album Target Practice-- a band headed by Maya and Nandy McClean, better known as The Twinz. He will serve as the night's opening act and will also be part of the headliners' backing band during their set.
    He has forged a successful career without the backing of a record label. He released his EP Intentions in February and the music video for his first single "You Bring Out the Best in Me," posted on YouTube eight months ago has had more than 19,000 page views. He has also been invited to play at music festivals around the world including Mosaic Music Festival in Singapore. He spent a significant amount of time this year touring Australia and Southeast Asia and will continue playing dates through the end of 2013.
  Chen split his time growing up between Singapore and Australia, which, he said, greatly influenced his musical style. He is a classically-trained musician, plays several instruments (including violin, piano, guitar, bass and drums) and has a degree in music technology, according to his Web site druchen.net. He discovered  R&B, funk and soul music as teen, which, he said, had a tremendous impact on his musical direction.
  K Nicola Dyes did an interview with Chen recently, via e-mail, where he discussed his musical influences, how he became involved with "The Ultim8 Prince Party" and his approach to creating music:

   ?: How would you say that discovering the R&B, funk and soul genres as a teen changed your musical direction?
  DC: R&B stands for Rhythm and Blues. It gave me "rhythm," which taught me how to be funky and in the pocket. It gave me "blues," which is the feeling in the "blue notes," that gave birth to soul.

  I think every musician should give R&B, funk and soul (music) a try. There's just so much music and culture that came from (those) traditions and (that) lineage: from early Motown (artists) and The Parliaments (Doo Wop) to Sly & The Family Stone and Funkadelic (Psychadelic Soul) to Prince and The Revolution and Michael Jackson (Pop/Rock/Soul) to D'Angelo, (Erykah) Badu, (Raphael) Saadiq, J Dilla and The Soulquarians (Neo-Soul/Hip Hop) and now all the global, soulful cats today like DaM-Funk, Miguel and Frank Ocean who keep pushing and stretching things in all different directions.

  I hope I can, in some way, contribute to this tradition, coming at it from an Asian-Australian background.

  ?: You have managed to make quite an impact without being signed to a record label. What has the been the easiest part of navigating your musical career? The most difficult?

  DC: The easiest part is having the passion and background to help me do what I do. I studied music in school and learned the basic skills to analyze music. From there I studied the "Yodas," all the people I mentioned above, the people who have paved the way and gave me the inspiration to fly my inner funky freak flag.

  I also have friends in the music industry who mentor and guide me in an informal way, whom I can trust, I can be truthful with and who also confide in me. It's a tricky business, but, I am very fortunate to have made some very good friends in it.

  The most difficult part is keeping control, (being) level headed and not letting emotions and impulses influence (my) decisions. Everything takes 10 times longer than you think, which can be a good thing. (It) gives you time to grow as an artist and ruminate on the decisions you have to make.

  ?: What is your approach to songwriting? What inspires you?

  DC: A feeling. A vibe. I think my songwriting gets separated into two categories: "Confessional" and "Muso." "Confessional" is pretty self explanatory. "Trainwrecks" from Intentions EP falls into this category. I have a couple of new songs in this vein, written about my journey in music and in life. 

  "Muso," as I call it, is Australian slang for a "musician's musician." I'll get inspired by a particular musical phrase or production idea by another artist and I'll transform that until I come up with my own thing. A lot of D'Angelo's "Voodoo" was made that way--like the groove from the ending of Prince's "New Position" becoming the basis for the drum pattern on D'Angelo's "Africa."

  My song (and the upcoming single) "Turnaround" from the Intentions EP falls into this "Muso" category. I was listening to some "sloppy" Sly & The Family Stone while looping a J Dilla-esque beat (and) I came up with my own cascading vocal harmony canon that turns around over and over. 

  ?: How did you become involved with "The Ultim8 Prince Party" in Melbourne?

  DC: Marcus Scott, (of Beautiful Nights USA), saw me perform at my CD launch in Melbourne, Australia (earlier this year). We became fast friends and shared a passion for Prince and all things Minneapolis. He asked me if I wanted to be a part of the event. I didn't need to think twice!

  ?: What are you most looking forward to at the party?

  DC: Meeting everybody and making new friends! There's such a wonderful music community here, there and everywhere. For me, it's all about making the connections and getting to know people. I'm excited about working with Maya and Nandy from Heroine December. They're so lovely and down to earth. 

  ?: How did splitting your time between Australia and Singapore growing up influence your life and career?

  DC: I lived in Singapore from the ages of 7 to 16. I started playing in cafes and bars at 14. Singapore is so small, with a beautifully supportive and tight music scene, but, I needed to break out and explore the world a bit more. 

  I moved to Brisbane in Australia at 17 to pursue a Bachelor's Degree in Music Technology. The sound and vibe of Australia was so different from Singapore. It took a while to adjust (and) naturally, influences from other local bands began to creep into my music. I was particularly inspired by the DIY (do-it-yourself) work ethic and musicality of a local songwriter/producer Yeo (yeo-yeo.com).

  ?: What was the process for putting together your Intentions EP? What inspired it? What do you like about it? In hindsight, is there anything you would have done differently?

  DC: The Intentions EP was created over the period of time when I moved from Brisbane, Queensland, a smaller city to Melbourne, Victoria, a bigger city. A change of scene always inspires me. I guess that's why I crave traveling and touring so much. 

  I created the entire EP largely by myself, producing, arranging, engineering, and mixing everything. This DIY way of making music was inspired by musicians like Yeo, Stevie Wonder and Prince. These musicians have such a clear vision of what the final product will be like. It takes a long time for that to develop properly though and I feel I'm just starting to realize my sound, my vision, my brand, my feel. 

  Collaboration is healthy and, in hindsight, I would have taken more time to bring in more outside collaborators to help me flesh out my ideas. Having said that, I did have some help, primarily on the first single, "You Bring Out The Best In Me" from Graeme Pogson (drummer from legendary local funk act The Bamboos), Josh Bridges (bassist and long time friend, from Mustered Courage) and some wonderful horn players. That definitely brought out the funky vibe of the track.

  ?: You have mentioned artists such as Stevie Wonder, Prince and D'Angelo, among many others, as musical influences. What is it about their music that speaks to you?

  DC: Stevie Wonder (is) the life affirming, quintessential funk and soul singer-songwriter. Stevie's grooves absolutely breathe. (He is) the most natural player. My favorite songs of his would be "Mary Wants To Be A Superwoman" and "Don't You Worry 'Bout A Thing."

  Prince: (He is) thought provoking with his vision, scope, visuals, stage shows, bombast, precision and skill. Prince just brought it so far left, yet, he still manages to appeal to so many. (He is) the true chameleon. My favorite album of his is "Sign O' The Times."

  D'Angelo: Very, very well crafted and curated discography so far. There's not a single song (of his) I don't like. D'Angelo is a perfectionist to the 100,000th degree. I think he proves that if you take your time and concentrate on the vibe, the results will be far more rewarding. Music is spiritual and so much more than words and notes on a page. D'Angelo's music is testament to that. 

  ?: What other genres of music do you play and enjoy listening to? Who are your favorite artists in those genres?

  DC: Surprisingly, I like folk and acoustic singer-songwriter stuff, too, mostly from the 1960s and 1970s: like Simon & Garfunkel, James Taylor, Joni Mitchell and Van Morrison. I like the idiosyncrasies of their writing styles and and how personal the music is. 

  I also have a soft --or heavy--spot for Metal. I grew up as a guitarist and I learned through Metallica and Megadeth. The craftsmanship in their songwriting, particularly the melodies, is so great.

  To Paraphrase Miles Davis, "There are only two kinds of music: good and bad." 

  ?: Which artists would you like to collaborate with in the future?

  DC: I would love to work more with Maya and Nandy. I've got a few friends over in L.A. I'd love to work with as well. Shemika Secrest, whom I met on tour in the Philippines, has a truly amazing voice. Kimbra is also a new friend and I'd love to catch up with her. What a funky, talented lady!

  ?: What's in store for your fans as you continue to tour through the end of the year?

  DC: We've been working hard on our music video for "Turnaround," which will be the 2nd single from the Intentions EP. We're going to play some great shows, including a Funk & Soul Christmas Party on Dec. 12 at Ding Dong Lounge in Melbourne.

  ?: Do you have any plans to tour the United States in the near future?

  DC: I am planning to go to L.A. and a few other places in 2014 (and) would love to play some shows.

  ?: What do you hope to achieve in the next five years?

  DC: On the live front, I hope to play more festivals. I feel our funky uplifting sound suits a festival audience. In the studio, I want to really hone in on MY sound. Everything is a learning process and I have learned to take it in my stride and enjoy the journey.

  In the end, I just want to keep making good music and being honest with myself, my fans and fellow musicians. I am in it for the long run, so, I just want to grow and keep working at it. 

  ?: What is your message for all of your fans and people who may now be discovering you in regards to your performance at "The Ultim8 Prince Party" ?

  DC: Thank you for your support. Y'all are funky all the way!

Check out Dru's videos:

"Turnaround"

"You Bring Out the Best in Me"

To purchase tickets for "The Ultim8 Prince Party" visit www.purplefunkaustralia.com.

Stay Beautiful, Kristi

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All photos courtesy of Dru Chen except where indicated.

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Check out the following Web sites for more information:

Official Web site: http://druchen.net

Facebook: http://facebook.com/druchenmusic

Twitter: http://twitter.com/druchenmusic

Instagram: http://instagram.com/druchenmusic

Joyful Sound: Footage from 'One Night with Gayle' Concert

  Check out the short video from "One Night with Gayle," a concert hosted by "Dyes Got the Answers 2 Ur ?s," featuring Gayle Chapman, Clayton Ballard and Old Blue. Here are some of the highlights from the show which took place August 9 at The Mix in Seattle in a video produced and edited by Elke Hautala.

Willing and Able: Margaret Cox Talks 2 Beautiful Nights

  

   

  Margaret Cox has been one of the hardest working women on the Minneapolis music scene for nearly 40 years.

  She was born in Kenitra, Morocco and her family moved to Minneapolis when she was 7 years old. Cox began her career in 1975, while still in her early teens, singing in nightclubs. She worked in several local bands and was later tapped to join the band Lipps, Inc, along with Melanie Rosales, best known for the massive hit "Funkytown" in 1980, after the departure of lead singer Cynthia Jonson, for the group's final album 4.

   Cox found her greatest success when Jesse Johnson recruited her as the lead singer for the group Ta Mara and the Seen in the 1980s (along with band members Oliver Leiber, Gina Fellicetta, Keith Woodson Cox and Jamie Chez). The group found immediate success in 1985 with their first single "Everybody Dance," a Billboard Top 40 pop hit and Top 5 R&B hit.
The group released a second album, Blueberry Gossip, in 1988.

  She recorded several songs in the late 1980s for the MC Flash project, written and  produced by Prince, considered by many hardcore fans as one of the greatest associated artists albums never released. A later Prince-produced song "Standing at the Altar" was released as a single on the Paisley Park compilation album 1-800-NEW-FUNK in 1994. In addition,  she has also worked with musical legends such as Bonnie Raitt and Mavis Staples. 

Cox independently released a solo album entitled Margie's Little Demo and her band The Legendary Combo (formerly known as Dr. Mambo’s Combo) currently has a longstanding gig Sundays and Mondays at Bunker’s Music Bar and Grill in Minneapolis.

    K Nicola Dyes recently conducted a telephone interview with Cox where the singer discussed why plans for a third Ta Mara and the Seen album fell through, her experiences in the music business and some things from her past she would do differently:

  What I remember of Morocco...I remember I was very young. My father was in the navy. (I remember) being so happy to be with my mother and father.

  When my family moved to Minneapolis... it was really wonderful. My neighborhood in southeast Minneapolis (had people) of every color of the rainbow. It was very liberal. I had a really nice time, had lots of friends and great schools. I had a nice childhood.

  I started singing in bands in 1975-- mostly nightclubs and weddings—and my first band was called Perception. We did a lot of late shows and that always made it tough to go to morning classes.

  We started playing at a club called Bootlegger Sam's in Dinkytown, a wonderful nightclub and it was really fun. (The band) played a mixture of Top 40 rock and some old soul, mostly Top 40. I think we were doing Fleetwood Mac, we did some Sly and the Family Stone and some hard rock like (songs by) Boston and Kansas.

  My family taught me...to tell the truth and be true...They taught me to love all races. That was one really beautiful thing about my family and where I grew up: I loved that I had friends of every color. I must say that was a good time in my life.

  The music scene in Minneapolis in the 1980s...that was something. That was really, really incredible. I joined the Doug Maynard Band and Bonnie Raitt hired us to be her opening band. We toured with her. That was in 1980, 1981 and 1982.

  I also sang with Lipps, Inc. The band had a hit with “Funkytown,” (with lead singer Cynthia Johnson). I  joined after “Funkytown.” We had some minor hits (in 1983 on the album 4).

  All this time of course, Prince was hitting the airwaves. Then Prince and The Time did their movie (“Purple Rain,” released in 1984). I met Jesse Johnson in 1985 and I signed with A&M Records. (The first single) “Everybody Dance” made it to #24 on (Billboard Hot 100) Pop charts and made it to #3 on the (Billboard) R&B charts.

  We did lots of shows here in Minneapolis and we recorded the second album (Blueberry Gossip) in L.A. in 1988. Blueberry Gossip did not do that well. It did okay on the R&B charts, but, did not cross over to the Pop charts.

   Dr. Mambo's Combo got together in early 1988.

  Margie's Little Demo (is) something that I'm proud of. I've always known I was a good songwriter. I wrote a song (“I Need You,” co-written with Jesse Johnson), when he and I were working together for Paula Abdul's “Forever Your Girl” album.

  I was lucky to get background singers…on some of my songs (and) I got good guitar players—because, I don't play guitar worth anything. I play keyboards and I love to program drum machines.

  I'm real proud of (the album), because, it not only shows my songwriting ability, but, it also shows my musicianship as well. 

  I never thought that I wouldn't be a rock star. I never thought that I would get this far without a smash hit.

  The Legendary Combo...just a smokin', funky, incredible band... We started way back. We are lucky to hold down a house gig for a long time. 

  The first time I met Prince...I'll never forget it. I was singing with Sue Ann Carwell and we were opening up for a Prince show here in Minneapolis. This was way back-- before I even worked with him-- in 1982.

   Carwell, Melanie Rosales, another singer that I love dearly, and I were backstage and we were eating. They had some food for us backstage and we were hanging out with the guys in Sue Ann's band.

  Prince came in and sat down with a bodyguard. Sue Ann already knew him. She was chummy like “Hey, how are you doing?” went up hugged him and talked with him. I met him and shook his hand. He was sitting down and his bodyguard was standing next to him and he said “Nice to meet you.” He shook my hand. He was very nice and quiet… He's always been a quiet dude.

  Then I went and ate a bunch of food that was on this buffet. I was eating and then I realized that I was making a pig of myself (laughs).

  I was a little embarrassed that, after I met him, I went and ate all this food in front of him. I remember thinking “Oh God, what did I do that for?” But, I'm sure he understood. I was hungry! (Laughs).

  It was just a one-off show. He would do a lot of those here in Minneapolis. We were lucky to get to see him more often, maybe than the rest of the world, because, of course, he was from Minneapolis. He would do a lot of shows, just out of the blue. I think he has always used shows as a way to rehearse and write new songs.

 "American Bandstand..." oh man, yeah. I wore these clothes that were made by Sylvia, a really great dressmaker in Minneapolis, that Jesse (Johnson) knew. She put a hole in the dress that went over my right thigh--there was a hole with some lace there-- a see-through area.

  I did my show on "American Bandstand" and got to talk to Dick Clark. When I was talking to him, he said “Oh, I like your dress. I like your outfit and your coat.” I said “Thanks.” I looked down and the hole had moved a little bit to the middle of my body and it was showing some things. I said “Oh no!” I quickly pulled it over to the side again, but, I was so embarrassed. I don't know how much people saw. That (part of the) experience was embarrassing…

  We were ecstatic, we couldn't believe how much fun we were going to have and we did, we had so much fun. It was better that I could even imagine. It was really uplifting. I thought “Hey, I finally made it big!” (Laughs).

  "Everybody Dance,” that was a great dance groove for the time. The groove was really something and it was well produced and recorded. My singing was light and airy, because, that was the style then.

  If I would've sang with my funky Chaka (Khan) voice or Aretha (Franklin) voice, it wouldn’t have fit the tune. You know? So, I sang it a little lighter and “airier.” That worked. It went with the song really well. It was a stylized song. (Jesse Johnson) wrote that by himself.

  Margaret Cox on the single “Affection,” by Ta Mara and The Seen: "I can honestly say that is my favorite Ta Mara and The Seen song.  That's the best. That was written by Jesse (Johnson) and the bass player for his band, Gerry Hubbard. He definitely wrote at least 50 percent of that song. He and Jesse both put that song together. That was wonderful.

  I am an animal lover and that tiger in the video could sense that about me. He liked me. So, I wasn't afraid of him… Everybody else was just out of their mind scared.  The whole band would leave every time they would start to shoot scenes (with the tiger). They would just take off. The place would be empty and I was like “What? He's a pussycat.”

  I used to think you had to be rich to be happy.

  The music business is tough. You've got to have a good manager and I never did have a really good manager.

   I always thought that I wouldn't go to college, because, I would be busy becoming a rock star. I was always an A student. I always loved school. I have taken some college courses. I took the first one online.

  

  Being in the limelight...oh, I love it! I feel like that's where I was born to be. I love it. It's fun.

  “Saturday Night Live”...oh man, was that a blast! I got to meet all those funny comedians. I wore the shortest dress/skirt known to womankind. I didn't think I could wear a skirt that short, but, I got away with it somehow. I guess.

  Prince was just on fire, he put on a great show. I got to meet Patrice Rushen. She was in Prince's band at that time. For me to be in his band at the same time Rushen was in his band was just heavenly.

  We were touring Europe right after that, but, that was kind of the kick-off show before we toured. I got to tour Europe with Prince and he had hired The Combo to be Mavis Staples'  band. We played all her songs. I sang background and danced around. She sang the tunes and it was a beautiful thing.

   I took risks when I got out of my contract with Jesse Johnson and got out of my contract with Prince. I took risks and they were not good risks. Risks can be bad if you don't know what you're doing.

  I always wanted to work with Prince. I recorded the (MC Flash) album in 1990. Why wasn't it released? That's a mystery to me. I know that Prince was having a hard time with Warner Bros. (Records) and they were shutting down everything he tried to do. It was shelved and there it sits --in “The Vault”-- gathering dust. I loved everything on there. I can't even pick a (favorite) song. He wrote some great tunes, some rockin’ stuff.

  After the MC Flash album, we (later) recorded “Standing at the Altar,” which was released on the album 1-800-NEW-FUNK. That's when I was Margie Cox. (I recorded) a few songs, the main one being “Standing at the Altar.” I thought (the songs) were going to be for a Margie Cox album. 

  He was having troubles with Warner Bros. at that time. He was having his own trouble with his label and, so, I think that "Standing at the Altar" was the single that he was hoping to get me a new (record) deal with. It was only successful as a single and we weren't able to get a new record deal for me, because, of his problems with Warner Bros.  (The song) did pretty well. I didn't make a whole lot of money, but, I made a few thousand bucks.

  I was always under contract to Prince (during the time she recorded with him). My lawyer said let's just try to get to out of this and move on. Prince didn't want to let me go. I was happy about that. To this day, I wish I hadn’t, because, my lawyer wasn't able to get me another (contract).

  I had a studio in my basement and I started writing tunes. I put them down on a disc. It took me a few years to get it all done. I printed 500 copies to see if I could sell them myself and I did. It's called Margie's Little Demo. This year I printed up another 500 and I've sold almost all of them.

  I've learned not too act so quickly or to act in anger or in spite, because, really, when I go back to it, I shouldn't have broken away from Jesse so quickly... We had a misunderstanding and I wish we would have resolved it, because, it just ended up kind of fizzling out. I think we might have been able to put out a third (Ta Mara and The Seen) CD called Tuff Girl. It was something we were working on. The first song we did was “Tuff Girl” and that made it on to (the album) Blueberry Gossip. It was an extra song that we were thinking of using for a third album.

  I think if we had of released it, the third time might have been the charm. 

  When my contract ended with Prince was when I began to be fearful. My lawyer/manager was not moving us forward as I had hoped. That was a mistake. I have made a couple of big bad ones.

  My musical influences...I could narrow it to three or four. When I was a child, The Beatles were a big influence on me. Stevie Wonder. Sly and the Family Stone. I would say Prince and Chaka Khan. Good old rock and soul.       

  Anything that's funky catches my ear; it's gotta be funky. Jesse Johnson and Prince were definitely funky, so, I was happy to be working with them. Aretha and Chaka had the kind of voices that just made me so excited. I started singing along and thinking “Wow, I think I can do this.”

   I was so very lucky that I was raised by a voice teacher. She (Cox's mother) taught voice. She taught at the University of Minnesota  and all my life she taught at home. So, I got to hear that everyday (when) I went home.

  Songwriting is important to me. It's in my blood. Songwriting is an art that I had as child, but, from working with Jesse Johnson and Prince I was able to really learn a lot more about songwriting, so, that I was able to make my own CD.

  I define freedom...I'm lucky to be living in America. I have my own house. I was able to buy my own home. That, right there, is a big freedom for me. Freedom is something that I feel lucky to have.

  Musicians never get up early in the morning. At least not most of the ones I know. I think that's a pretty true statement for the most part.

  I've been through poor management. I've been through some poor business agreements and consequently some poor financial times. But, through music--maybe music helps-- I've been able to keep happy, basically.

  There's no limit... I guess there is no limit to what I can do musically. There's no limit to what The Legendary Combo can do musically. There's no limit to my strength. I still have a good strong voice and a good strong body. So, there's really no limit to me…yet. I can still do it! (Laughs).

  I want people to remember...hmmm. That's a hard one. What do I want people to remember? I guess I want them to remember...boy, oh, boy. That's tough. I want them to remember Margaret Cox and when they come to Minneapolis, look her up sometime, look for her at Bunkers (Music Bar and Grill).

  The Legendary Combo performs from 9 p.m. to 1 a.m. Sundays and Mondays at Bunkers Music Bar and Grill, 761 Washington Ave. N., Minneapolis. For more information call (612) 338-8188 or visit bunkersmusic.com.

  To purchase the album Margie's Little Demo, visit cdbaby.com.

Stay Beautiful, Kristi

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