Daddy B. Nice's #92 ranked Southern Soul Artist
"Don't Stop The Music"
Composed by Mose Stovall & Robert Harris
Re-Posted from Daddy B. Nice's Mailbag
May 1, 2020:Thank You Letter
Thank youDear B Nice,
To those that may not know, my name is Mose Stovall aka The Velvet Voice! First off i'd like thank Daddy B Nice and Southern Soul RnB for all your continuous hard work and Dedication to the Southern Soul Community! I've been apart of this family for quite sometime time now! Thank you for recognizing Me featuring my father Eddie Stovall aka Big Daddy E for Whiskey Drinking Woman which was produced By Snatch Nelson and Fatt Catt Records. I'm also alumni of the Daddy B Nice's 21st century Top 100 Count Down with "Don't Stop The Music" Produced by Austin Hall and Rob Harris For Soul 1st records! It a honor to be apart of the family! Please be on the Look Out for my New Album Titled "Family" Ready for Release right now! It Features songs produced by Ron G Suggs, Snatch Nelson, Beat Flippa and Kelvin Benion. 85% Written by Mose Stovall. Featuring other writers Big Bird of Durdy Music and Eddie Stovall aka Big Daddy E. I also love reading reviews and keeping up with the new and old in Southern Soul. I'm signing out. In closing "Let The Music Play!!
April 7, 2018: NEW SINGLE ALERT!
See Daddy B. Nice's Top 10 "Breaking" Southern Soul Singles: May '18.
For the latest updates on Ricky White, scroll down to the "Tidbits" section. To automatically link to Ricky White's charted radio singles, awards, CD's and other citations on the website, go to "Mose Stovall" in Daddy B. Nice's Comprehensive Index.
January 30, 2011:
Daddy B. Nice's Original Profile:
Mose Stovall is one of a growing number of performers streaming into the Southern Soul genre from the greater world of mainstream R&B. On his first album, Private Party (Magic City Hitsville, 2003), Stovall described his work as "Soulful R&B Music, Genre: Urban/R&B: Rhythm & Blues."
By the time of his second album, his signature Southern Soul disc--Groove U (Soul 1st, 2007)--Stovall was describing his work as: "The new sound of Southern Soul and R&B in the tradition of the great soul singers. Genre: Urban/R&B: Southern Soul."
And needless to say, the new songs bore it out. Stovall grew up in Birmingham, Alabama, home to quite a few Southern Soul fans--then again, it's not central Mississippi, the heart of the Southern Soul scene. Stovall's head was turned not only by the growing interest in Southern Soul but by a genuine epiphany with the music.
He fell in love with a little-known Southern Soul group called Daybreakk! and traced them back to Reg McDaniel's Soul 1st label, the home of Southern Soul star Omar Cunningham. Contact was made and a really good album resulted.
Groove U spawned two substantial Southern Soul hit songs: "Groove U Baby" and "Don't Stop The Music." Both songs eschewed programming for full bodied, real-instrument backing, and both benefitted from strong, melodic song structures.
"Groove U Baby," written by Austin Hall, was a fresh-sounding, mid-tempo ballad sung in a plaintive tenor. "Don't Stop The Music," written by Stovall and Robert Harris, with Omar Cunningham on background vocals, featured an unlikely voice-encoded lead vocal by Stovall.
"Don't Stop The Music," in fact, defied all of the current taboos in Southern Soul, but none more so than that dreaded synthesized vocal. The thing was, it worked. It worked so well that it became the most cherished element of the song, the very thing that linked it to the great dance-floor soul of The Bee Gees' "Staying Alive," Montel Jordan's "This Is How We Do It" and Cameo's "Word Up."
The success of "Don't Stop The Music" may have even surprised Stovall, and its appeal reiterated the fact that you can't over-define the Southern Soul form. There are many examples of rock-and-roll or disco-tinged Southern Soul hits.
Stan Mosley scored with a conventional Southern Soul ballad with "Rock Me" back in the day. But it's often forgotten that he had an equally compelling song at the time that plied a similarly unconventional, relentlessly dance-floor sound: "Anybody Seen My Boo."
Larome Powers made hay with his dance-friendly, pop-produced "Shake And Shimmy," its pounding beat--like Stovall's "Don't Stop The Music--too "club" not to be a Southern Soul hit. In other words, if it gets people up in the club, it's Southern Soul.
T.K. Soul has a synthesizer-enhanced dance-floor jam currently on the charts: "They Wanna Party With Me." And your Daddy B. Nice first brought it to everyone's attention with a #1 "Breaking" Southern Soul Single citation earlier this year.
Both "Don't Stop The Music" and "Groove U Baby," in sum, showcased a kind of rhythmic swing--a cadenced momentum--that as well as anything defined Mose Stovall's style. In these songs, Mose Stovall found his natural style and musical calling.
"Groove U Baby," meanwhile, was one of those slow, hip-rolling songs that made you want to rub on the body in front of you. Light, delicate and mellow, it nevertheless had a substance and depth few romantic songs muster.
"Baby, I've been thinking about you.
You're all that's on my mind.
Girl, you know that it's been so long
Since we spent some time together.
So tonight let's make plans
To get away.
Girl, you know that you're long overdue
For a lover's holiday.
I just want to groove you, baby.
Take it nice and slow.
I just want to groove you, baby...."
Blessed with an authentic vocal tone and expressiveness which "Groove You Baby" highlighted to great effect, Stovall's singing nevertheless was not of the spectacular variety. The lead vocal remained entirely in service to the song and a part of the overall fabric. The listener never focused on this or that singing technique. All technique was buried and invisible: a part of the message.
In "Don't Stop The Music" the voice-enhanced lead vocal worked in a similar fashion. Stovall's synth-enhanced lead traded phrases with Omar Cunningham's smooth background vocal with the freshness of a children's classroom roundelay. Nothing stood out in stark contrast to anything else. Everything fit in its place in an exquisite arrangement with only one goal in mind: the effortless delivery of the message.
At the end of "Don't Stop The Music," while Stovall takes a breather, there is a comfortable musical pause with lyrics that have probably been used in every dance jam ever written:
"Shake it to the left,
Shake it to the right.
Now swing it in the middle
Party all night."
The band keeps percolating away, and--just as the song is about to fade out--Mose lets out an impromptu, triumphant cry:
"That's my jam,
That's my song,
That's my jam,
That's my song."
It's the perfect moment, an instant in which both artist and fan recognize something miraculous has happened. Happiness--sheer joy--has been attained. The artist has done his job. He's one with his song.
Link to Mose Stovall music on I-Tunes.
--Daddy B. Nice
About Mose Stovall
Mose Stovall was born in Birmingham, Alabama, where he sang in church and local musical entities through his young adulthood. In the early 00's Stovall began working as an artist at Magic City Hitsville Records, where he helped co-found Music Makers Recording Studio, composing songs and singing background for Birmingham-area recording artists.
Song's Transcendent Moment
"I walked in the club
If You Liked. . . You'll Love
If you liked Bigg Robb's "Keep On Steppin'," you'll love Mose Stovall's "Don't Stop The Music."
Honorary "B" Side
"Groove U Baby"
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