What makes a true pop diva? Is it talent? Is it the level of fame achieved? Is it the indescribable “it” factor? Or a combination of all of the above?
The term is reserved for a select few over the past 60+ years, so much so that only a few names instantly come to mind. The most apparent, to me, are Aretha Franklin, Cher, Tina Turner, Chaka Khan, Madonna, Whitney Houston, Mariah Carey, and Beyonce Knowles. There are, of course, many others who may not be “S Tier”, but clearly cut the mustard; names like Sade, Lyn Collins, Irma Thomas, Evelyn King, Teena Marie, and Lady Gaga. But for my money, Sharon Redd is the biggest “what if” pop diva that never was. An incredible vocalist, from a distinguished pedigree, who, due to a truncated solo career (and succumbing to America’s most stigmatizing health epidemic), has somehow become a footnote instead of a legend.
Redd’s sophomore LP, Redd Hott, is post-disco/boogie (or whatever you wanna call early 80’s electronic funk) perfection. Now, me claiming this might not be groundbreaking, but me directly attributing its power to Redd’s complete vocal confidence might be. Redd Hott was released by the best dance music label, Prelude, at the exact apex of their power. And nowadays I feel like people, myself included, sometimes give too much blind credit to certain record labels’ overall strong catalog consistency, over the actual merit of the records themselves. Yes, I buy all things Prelude. Yes, they have an almost spotless decade-long discography. But we’re kidding ourselves if we don’t shine a huge light on certain moments of their history. And Sharon Redd’s Redd Hott is the Prelude moment.
A huge development in making dance music timeless happened in the early 80’s. Producers stopped injecting dance music with orchestral strings and other traditional acoustic instrument arrangements, and went whole-hog with electronics. Not just synths or electric guitars, but everything. And club music has never looked back since. This music was epically forward-thinking, yet left a problem that only a select few could truly overcome: If every instrument is synthesized, how do we keep the music undeniably human? The answer was simple yet elusive: have an incredible vocalist in control.
Redd Hott balances this new wave of technology and soul’s grounded roots perfectly. The first four tracks of the record are relentless. Bookended with the club hits “Never Give You Up” and “Beat The Street” each song basically forces you to bob your head in bliss. All the songs are built on drum machines and wild synth stabs, yet Sharon’s vocal delivery is so confident and warm, that you almost forget this record is the framework for what would become house music only a few years later. There are vocal loops, dub-like delays and echos, and throbbing basslines. But only a Diva could keep this digital music so deeply human. She’s literally conducting a party through her soulful vocal work.
Please, please, give this record a spin. Listen closely. It’s dance music perfection that will never sound dated. Ms. Redd only fronted three LPs before being relegated back to (her legendary) backing vocal work. Her three records are akin to listening to a shooting star, with Redd Hott being the peak. And luckily for us, they’re all still all very affordable. Rest In Peace to my favorite forgotten Diva, New York City’s Sharon Redd.