CAMEO's reinvention in the mid 80s was a sight to behold. The previously 12-man band transitioned into a trio (albeit with a few extra members). This change brought in a new image and even a new attitude. Long gone where the afros and horn powered funk that defined them early on. In was the Synth-Funk, rockish style that helped to solidify them as one of the most important bands of the 80s. From the red codpieces, quirky aesthetics to the fresh Cameo cuts(As quoted by Big Daddy Kane, a flat top haircut popularized by the group at the time), the group(or specifically Larry Blackmon) were visionaries and trendsetters. The former NYC Players also were one of the first artists to embrace Hip Hop on a big platform. An example being their 1984 US R&B No. 1 hit:

CAMEO - She's Strange

This song proved to be an example of their 80s output of pulsating grooves and eccentric visuals that would leave a lasting impact. Most notably, the Hip Hop Generation were the biggest examples of their influence and attitude.

CAMEO's 80's popularity was not just a statement but a reflection of a musical movement that was arguably occuring. On one side, there was a wave of artists that were able to arrive. These artists were initially associated with the Old School era of Hip Hop. These weren't your typical R&B/Soul artists, the singers were well versed in Hip Hop vernacular. The artists were particularly under or associated with Def Jam/Russell Simmons. Although nowadays lost and forgotten, these guys served a significant bridge to an important period of Contemporary R&B. An era that housed quality artists, these are simply the lost kids of R&B.

Part 2:

Certain artists have been around the Rush Managment circle for quite awhile. Musicians such as Tashan and Alyson Williams had early Hip Hop beginnings:

Orange Krush (Early days of Alyson Williams. A touring band she was apart of that was associated with Russell Simmons and produced by Larry Smith) - Action (1981)

Whodini ft. Tashan - Yours For A Night (1984)

Unlike their contemporaries, these guys were involved or had connections with Hip Hop artists dating back to the Kurtis Blow days. Kurtis Blow's album America(1985) solidifies the demand of these artists as they made contributions on his project. In fact, these singers were notably singing over Old School and Mid School Hip Hop production. Something that was unheard yet different at a time when most R&B were on slick, sophisticated Jheri Curl 808 funk. The creation of Def Jam in 1984 gave these artists a platform to showcase a new, developing style. 1986 would prove to be a crucial year for Def Jam's involvement in R&B:

Out of a desire to branch into R&B after the success of Oran "Juice" Jones,
Russell Simmons developed Def Jam's first imprint to distinctify the two genres and to keep Def Jam as a strictly Hip-Hop brand. Although, it took a couple of years, the imprint formed. Original Black Recordings (OBR) was launched in 1988. The newfound label became a home for Def Jam's R&B for the time before being discontinued years after.

A shame how things happened. The artists definitely were done to a disservice considering their association to Def Jam. The label's massive focus on Hip Hop made them overshadowed. The Lost Kids definitely had the crooning and soothing melodies that defined 60s Motown but with a Hip Hop attitude. The production consisted or had a simplified version of Def Jam's then stripped-down, hard-hitting drumbeats courtesy of drum machines like the Oberheim DMX and Roland TR-808, creating a heavy backdrop for the singer to provide a more vivacious delivery. The lyrics also displayed carnality and social awareness that echoed 70 Soul artists such as Curtis Mayfield, Marvin Gaye, and others.

Not saying these guys should have been household names, popular, or any of that nature. However, they were pioneers of a landscape that was forming. The synthesis of Hip Hop and R&B was beginning to happen. These artists were precursors to the Hip Hop Soul movement that figures such as Mary J Blige and Jodeci were key in. Interestingly, the artists label, Uptown Records, was headed by Andre Harrell. He was a former Vice President of Def Jam from 1983 -1986. He left the label due to Russel Simmons not f***ing with the early demos of Heavy D. This caused him to depart, forming Uptown Records, which became a leading force in the merging of Hip Hop and R&B. New Jack Swing and Hip-Hop Soul were Uptown's genre creations. Could Andre had played a role in Def Jam R&B before and after his departure? The answer: we may never know, and it hasn't been proven if he truly was. One thing for certain is that his promotion of R&B was surely missed in Def Jam until years later with the mid 90s arrival of Def Soul(Montell Jordan, Dru Hill, Case, Kelly Price, etc.). Hip-Hop Soul also led to the development of Neo Soul (D'Angelo, Maxwell, Lauryn Hill, etc) another sub-genre whose lyrical content and approach closely mirrored the 80s Def Soul/OBR movement.

Forgotten, lost to time. The artists below were truly a missing piece of the puzzle that bridged the gap between the 70s Soul poets and the Neo Soul movement. The 80s Def Soul artist were simply classy and presented themselves as mature, grown compared to the younger, street influenced style of their Uptown and Neo Soul successors. An attitude that might have unfortunately caused them to be looped with the rest of the Jheri Curl Soul/Boogie crowd. Pioneers that aided a sound that would showcase what the future of Contemporary R&B would sound like. A topic that many enthusiasts believe ruined the R&B genre, it's one thing to note that Def Jam was on to something. A "something" that begat light to a future where the blending of genres became normal. An era that showcased Hip Hop's impact and to be fifty deep.

Examples:
Oran "Juice" Jones - Curiosity

Oran "Juice" Jones - Cold Spending My Money

Chuck Stanley - The Finer Things In Life

Chuck Stanley - Jammin To The Bells

Tashan - Chasing A Dream

Davy D - Oooh Girl

The Black Flames - Are You My Woman

Alyson Williams ft. Oran "Juice" Jones - How To Love Again

It took me awhile to do this but I'm happy it's finished. This might be the last time I'll do North American 80s R&B/Funk/Boogie. I want to dive into other countries that employed R&B, Funk, and Jazz. S*** I might do Country Hope ya'll enjoyed the topic!

God I love Cameo so f***ing much its unreal

@AudioConsulting @Bushmanate @CliCity @proper @Prosper @cm_junk @Oblivion99 @BIGGWAVE @Sir_Swagalot @Sk8brdKee @Ultimate_Warrior @loveu_Boi @Jbreezyondeck @HavenPB @degenwokemoralist @Brave @knova @2words

yo i knew from the title this s*** was gonna go hard. plus this nigga tagged me he knew id fw this

S/O GTA SA

I certainly did

Classic game

You don't have to tell me much about Cameo, my Dad's a huge stan of them

@op

Thanks for bringing me back

Great music, this is what I wanna hear at the family function.

@HavenPB @ThisIsNeverThat @Fiasco @knova @Vox @young_frank @t3st1ng @slime_wrld @xxxkiraxxx @SOLARIS

Good read

If you can’t electric slide to Candy then I’m looking at you crazy

Another great write up @op

Much love. I do it for ya'll🔥🔥🔥

@Beatokiri

those sin wavey pads on 'she's strange' are BONKERS. bold as hell progressive electronic sound in general on some mort garson s***, goin crazy with the Moogs. that sound is more 70s than some of y'all might realize too. they were keepin that s*** alive in a way. see Tonto's exploding head band as an example-the band with the sound that singlehandedly inspired Stevie to go electronic with Music of my Mind

I love seeing these threads on here man

Classic Thread

Damn the more you know