All around it was a very good SEPTEMBER week here at Willis Wonderland LA as well as Willis W in Detroit.

Yes I know there is a Willis Street in almost every major city in the country. But this particular one is not only the exact spot my parents first met when they lived kitty corner from each in Detroit oh so may years ago, but it’s also the street that was taken over to make way for this intersection below, in a housing complex started by retired Motown singers and where we sang one of the sing-alongs for “The D” record and videos.

As the reliably magic day – the 21st of September – approached, NPR did a great story on the timelessness of my very first hit, “September”, co-written with Al McKay and Maurice White. Professors of Musicology even broke it down for analysis as to why it is so eternally happy and a song that will literally never end.

0It’s been decades now that every weekend I receive at least 5 videos of the song played at someone’s wedding or drunken karaoke spree or there’s a bar mitzvah boy spinning around his blond dream girl, anywhere and everywhere happiness is the intention. And indeed THAT makes me very happy!

Then I had literally one if the greatest days of my life in Detroit on THE BaDeYa 21st of September when I performed my very sold out “BaDeYa, Detroit!” show, featuring a 15 piece band put together from musicians and singers we discovered at the sing-alongs and while filming the feature-length-exceedingly-hybrid-documentary, Allee Willis Loves Detroit.

The show/party also included dancers from Mosaic Youth Theatre Of Detroit, one of “The D”/ Allee Willis Loves Detroit’s beneficiaries, spinning car tires over their heads, choreographed videographers leaping over drums on cymbal crashes and organ sweeps, as well as the obligatory obsessive amount of junk food I subsist on.

And then how much better does it get when you get Tavis Smily in an Afro (attempting to) shake his booty to ’September”’s sister, “Boogie Wonderland”, on Dancing With The Stars, all in the same week?!  Though he sported one of those chopped down naturals when a good footlong Billy Preston was called for.

I have been blessed with a wonderful (albeit challenging) life and am living my creative (albeit money challenged) dream right now and I thank all of you who made it possible! Remember to throw some gas money in the tank please.

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For the past few few years now on the “BaDeYa, say do you remember 21st night of September”, my blessed and magic day because it’s the first line in the first hit record I ever had, I’ve made a tradition of performing live, something that took me over three decades to get together. Other than last year when I was in Detroit conducting one of the 50 sing-alongs for ”The D”, the unofficial official theme song I cowrote for Detroit, in a laundromat with people essentially spinning around in dryers while singing.

As luck would have it, THIS year was a particularly special September 21st as just a couple days earlier NPR did a story on why “September”, co-written with Maurice White and Al McKay, remains such a timeless song, symbolizing warmth, love, and soul.

This year September 21 was even more special because I decided to perform live for the very first time EVER in Detroit, my beloved hometown for whom I’ve (unofficially) been slaving away on a project, “The D”, a record and multiple music videos, and Allee Willis Loves Detroit, a feature length film, for the last 2 1/2 years. As such, my co-writer and partner on the music portion of the project, Andrae Alexander, and I put together a 15 piece band made up of the very best musicians and singers we found during the 50 D sing-alongs we led last year to perform live with us in the show, BaDeYa, Detroit!.

We also wanted to give everyone a preview of the song which finally has a preliminary mix after over a solid year of trying to deal with 5000 vocal and instrument  tracks, each one with up to hundreds of voices on them. There’s just so much room in the sound spectrum and every inch of it we have taken up truly sounds like something you have never heard before. We also gave the audience a sneak peak at the beginnings of the first of many music videos to follow.  (Sorry – no preview here; only a few shots so you can see it ain’t no normal thang and to insure that you get the full punch once the first video’s actually delivered.)

For an artist such as myself who dotes on every detail of a stage production from designing the invitations to handmaking the set, picking theme food, designing the merchandise, casting people who help us like I’m casting characters in a musical, shipping 20 crates of everything to Detroit, directing, co-producing, and doing just about everything else involved in a production – albeit all with fantastic collaborators – this was no easy feat. And performing out of town for essentially the first time in my adult life makes that even harder. But don’t even ask me how worth it it was!!! Easily one of the best days/nights of my life was this “21st (almost) night of September”!

We performed at United Sound, a still-in-existence historic recording studio in Detroit where everyone from Charlie Parker to The Rolling Stones and some of my all-time favorite records like Isaac Hayes’ “Shaft”, The Dramatics’ “Whatcha See Is Whatcha Get”, and Marvin Gaye’s “What’s Goin’ On” were recorded.

But to turn a brilliant recording studio into a brilliant performance space is another issue entirely, especially when it involves things like sets, choreographed videographers who leap over drums on crash cymbal cues and organ sweeps, and all the other madness that goes into an Allee Willis production..

Of this now 2 1/2 year Detroit gargantuan mofo project,  “The D” and Allee Willis Willis Loves Detroit, the feature-length film about human spirit as seen through the people of Detroit and how my life, a constant conscious battle to keep my own spirit going, parallels that struggle, 99% of it has been funded by me. (Put some gas money here please.) So this meant getting people involved in BaDeYa, Detroit! working for gratis. Which they thankfully, gratefully, and miraculously did. From the band to just about everyone else who worked in any capacity on the show. They are saints. They are insanely talented. They are blissfully soulful, and primary examples of why I feel so compelled to make a film about the people of Detroit and how it is THEY who will rebuild the city because of their resilient spirit.

I want to give a special shout out to Malcolm Haris and Donnevan Tolbert, two young gentleman I saw play Mister and Harpo when their high school, Cass Tech, became the first in the country to license the musical I cowrote, The Color Purple, a couple years ago, and who did a brilliant spoken word intro to my show.

And I want to thank the five brilliant dancers from The Mosaic Youth Theater of Detroit, one of the two beneficiaries of all profits from my Detroit efforts, who donned mechanics uniforms and spun car tires over their heads during the sneak peak world premiere of the first mix of “The D” and boogied their butts off during my second hit,  “Boogie Wonderland”.

I want to also thank the stupendous audience not only for showing up, as songwriters remain the buried treasure of the music industry, but also for participating so wildly so that the show came off just as I had prayed it would. Like a party in my living room. And if you don’t know my reputation for throwing parties you better go here now.

As a result of having so much fun not to mention hitting a new plateau in my budding performing career, I love Detroit even more than I have kvelled about it before, as if that was even possible. And I will eternally love the 21st of September for doing everything from giving me a second birthday because every year since I wrote it I hear from thousands of people that day telling me how happy the song makes them feel. This year it made me the happiest of all.

I hope you can see the spirit that was jumping off of the stage and ricocheting back to us in all the above photos as well as all of these. That room was an automatic power generator and from what I’ve heard everyone, certainly including me, is still buzzing. So BaDeYa Detroit!

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As I’ve never learned how to read music, even that which I’ve written and somehow managed to plunk out on a keyboard note by note until I build a full record, it’s going to be quite a kitsch adventure conducting the Marching Band at my alma mater, the University of Wisconsin, when I go there this weekend for the Homecoming football game where they’ll be featuring my songs at the tailgate party and pregame show. If watching the hundreds of marching bands I’ve seen on YouTube is any indication, marching band versions differ greatly from the records. So I will just have to bounce around up there on the 20 foot high conductor’s platform and follow as best I can as I attempt to lead, taking advantage of the fact that I’m very good at reacting spontaneously when curves are thrown at me.

As far as I know, the 300+ member band will be playing “September”,”In the Stone”, another one of my Earth Wind & Fire songs that’s a marching band staple, and “I’ll Be There for You”, the theme from Friends. I’m not quite sure how that last one got in there when big marching band numbers like “Boogie Wonderland” and “Neutron Dance” didn’t make the cut, but the playlist is not my decision to make so I’ll stick with some other important ones that I have some control over. Like what to wear…

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Wisconsin’s colors are red and white. As much as I love red, I was shocked to comb my closet and not find anything that color in my current wardrobe. I have plenty of close-to-red maroon but that’s the color of the opposing team, Minnesota. So I had to dig into the inner recesses and pull out stuff that I haven’t worn in years. Had I known about this gig longer than two weeks ago you can be sure some of these would have been in there to choose from:

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And if I had a different body type, maybe even some of these:

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As I’ll be making my conducting debut in front of 82,000 people, not only does what I wear need to fit right and look good but I need to be able to move my arms around freely in it. This puts quite a crimp in the selection process. Though in a way, ill fitting clothes that make me ultra conscious of how I move is probably not a bad thing as I pray the bottom half of me doesn’t move around THAT freely as the aforementioned conductor’s platform that’s 20 feet up in the air is only a few feet square and has no rails. Which means it’s probably a blessing that I don’t know The Marching Step as I don’t need a tumble from the platform being my most memorable move.

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Marching Step or not, I do know that my feet will be looking very good as for whatever I’m lacking in red clothes I have quite an excellent selection of red shoes.

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Just looking at this photo of my shoes reminds me that I’ve got to pack, not to mention finish work deadlines and get everything else done I need to do in order to leave LA in peace. So I must cut this short. On Wisconsin! I’m ready for my close-up.

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At least I’ve got my reading material for the plane.

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How happy am I that neither rain, sleet nor snow could keep the Kennett High School Marching Band from playing my song, “September” back in January of 2007?! I’ve been especially aggressive tracking down marching bands playing “September” as in a couple of weeks I have the great honor of conducting the University of Wisconsin marching band at the Homecoming halftime game when they play three of my hits, “September”, “In The Stone”, an Earth, Wind & Fire song that has grown to mythical proportions in marching band repertoires, and ” I’ll Be There for You (the theme from Friends)”, which I have no idea as to why it’s on the program when “Boogie Wonderland” or even “Neutron Dance” would seem more appropriate to drum the spirits up for the big game.

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Despite the fact that I (co) wrote everything, I can’t read music and thought that maybe if I watched a few marching bands play the songs it might better prepare me as these arrangements always differ slightly from the records.  I’m  not sure how much I can really learn from the Kennett High band other than to always wear galoshes in inclement weather and to remember to practice so I can hit the notes. I will say that the rain makes an excellent percussive intro.

For a more through exploration of my “365 Days Of September” mission as well as details of how the song was written, go here. Until tomorrow, ba-de-ya!

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Because the opening line of my very first hit song, “September” by Earth, Wind & Fire, is “Do you remember the 21st night of September?” I constantly get asked the significance of that date, the very day it is TODAY.  People are always looking for some great meaning, especially those whose birthdays are today and to whom the song has held a special place. Sad to say, the only real significance is that that it felt so perfect to sing. Those three syllables – twen-ty-first –  hugged those notes tighter than an angora sweater and once that happens any good songwriter knows they need to just leave it alone because it works. What I’m most proud of achieving with my co-writers, Maurice White and Al McKay, is the transformative effect the song seems to have on people. I could be at a funeral and if “September” even came on as a ringtone most people’s lips would curl into a smile and their toes would automatically start to tap.  Beyoncé and Jay-Z even chose it to dance their first song to at their wedding. And that makes me very happy.

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Ever since the song was released at the tail end of 1978, September 21st has been a magic date for me. In the pre-email/text days when I used to check my phone, the messages would be filled with people singing me the song. Some of the singers were famous and the versions were killer. Sometimes it was my dentist or a friend from camp and the versions were terrible, just the way, as a lover of kitsch, I love them.

Through the years, the popularity of “September” seems to grow, so much so that the entire month of September has started to feel like a holiday to me, especially this year when it started with Earth, Wind & Fire playing “September” with a 70 piece orchestra and fireworks at The Hollywood Bowl. So, I’ve decided to honor this date that has given me so many gifts with a few gifts of my own:

• First, the release of my “Jungle Animal” video/song with Pomplamoose, a YouTube sensation band I contacted to work together after I saw their version of “September”, with over 2,000,000 views on YouTube. Now would be a good time to watch “Jungle Animal”:

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•  Second, the matching “Jungle Animal” music composition game I designed and that’s ready for your jungle playing pleasure right now at https://www.alleewillis.com/music/pomplamoose/jungle-animal-player.php

•  Third, in celebration of the one-year-to-the-day opening of my social network, The Allee Willis Museum of Kitsch at AWMOK.com, The Jungle Animal Petting Zoo is now open, featuring some of the most cheesy and brilliant jungle animal artifacts on the planet.

• And fourth, the launch of “The 365 Days of September”, where I’ll post one new version of “September” a day for a year from the thousands of insane versions of it on YouTube.

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And I JUST found out that September will continue into October for me as The University Of Wisconsin Marching Band will play my songs at the Homecoming football game on October 9th and I’ve been asked to conduct! As some of you know, UW is my alma mater. And I LOVE marching bands.  And even more pertinent  on the kitsch tip, despite the fact that I’ve sold over 50,000,000 records and counting, I still don’t know how to read a stitch of music. So I anticipate that conducting the band in front of 80,000 people is going to be one of the seminal kitsch moments of my life!

So to all of you on this September 21st I say thank you and wish you a big “Ba-de-ya!”. May you all have nothing but”golden dreams and shiny days”.

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Anyone who knows me knows that I don’t go to concerts. I don’t like the crowds, I don’t like the walking, I don’t like someone singing next to me or standing up in front of me dancing. I understand this is the nature of concerts and I’m not out to change that so I was always happier sinking my head under a set of headphones and listening to the intricacies of the music rather than the  idiosyncrasies of the crowd. This includes concerts where my own music is being performed. Of the hundreds and hundreds of songs of mine that have been cut I’ve seen maybe ten of them performed live. One of the most memorable nights ever for me was in 1979 at the Los Angeles Forum when half of the songs performed by Earth Wind & Fire were mine, including “September”, “Boogie Wonderland” and “In the Stone”.  Although I’m blessed to have some of my tunes among their most popular I never saw the band perform live again. Until last Friday night when I saw a performance that blew my head off my shoulders and still has me skipping along the sidewalks of Los Angeles, a very happy girl.

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On the slight chance you don’t know “September”, my first hit with the group, this will jog your memory. For “Boogie Wonderland” go here. There’s a lot more of them but that will suffice as context for this post.

About six months before “September” came out at the tail end of 1978 I started writing with Verdine White,  founding member of EWF, pictured with me at the top of this post, and to this day my favorite bass player in the world. We wrote a theme song for a short-lived TV dance show called “Hot City” for a singer named Shelly Clark. Verdine married Shelly and also put me in one of my most important relationships ever, my collaboration with Maurice White, Verdine’s brother whose vision EWF was.  Although I’ve seen Verdine often over the years I just saw Shelly for the first time last night since we did “Hot City”.  That kind of time span will never happen again.

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I wouldn’t have even been at this concert if my friend Nancy Ferguson hadn’t insisted that I go after almost every person I knew told me they were going.  The one photo I didn’t take last night was of my little family group, Nancye, Jim Burns and Prudence Fenton, who I go everywhere with and who schlepped me to The Bowl on Friday. Here we are a couple of months ago at a vintage slide show:

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I also hung out a lot with my excellent friend and EWF fan number one, Luenell.

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Luenell, Shelly and I took excellent head shots throughout the evening.

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Luenell came with Constance Tillotson.  Amongst the three of us we’re known as as Twinkie (Constance), Luenell (Ding Dong) and Hostess Snowball (me).

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The concert itself was astounding. It never hit me until it started that for the first time in my life I was about to hear  my songs played with a live 70 piece orchestra. It was actually the first time Earth Wind and Fire heard their songs this way too.

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Songwriting can be a lot of work. For me personally, many times along the way it was also a lot of trauma as when you’re a songwriter it’s oftentimes like being the attendant in a restroom; the restroom attendant is there to change the towels and service the patrons/ the songwriter is there to deliver options of music and lyrics and service the artist. I started doing art and videos and later, technology, because I was someone who needed to create all the time.  Whereas much of my time as a songwriter was spent babysitting, waking up an artists’ brain from seemingly eternal sleep, waiting around for hours while they decided whether it should be an “a” or a “the” in the lyric or to go to a D in the music and me knowing it should be none of the above.  But I have news for you – Every inch of blood, sweat and trauma was worth it when I saw EWF play “September” with a big  mofo 70 piece live ass orchestra and fireworks going off throughout the song. I think you can tell how excited I was by this little movie I took on my Canon Elf.

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People who filled the 17,000+ seats posted a zillion videos of this on YouTube. This one is shot from further back and shows all of the fireworks.

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Now I know I’m about to stay up all night writing this because I keep finding all these videos shot from different seats at the Bowl.  This one’s from about halfway back. As much as I’m tempted to post the at least 20 of these I’ve seen so far because I’m so eternally grateful for people around the world who’ve embraced “September” for all these years, I promise this will be the last:

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About a year ago, when I first opened my social network, The Allee Willis Museum of Kitsch @ AWMOK.com, me, Luenell, Verdine and Larry Dunn, original EWF keyboard player who played on all my EWF hits, did a slightly less orchestrated and lit performance of “September” when we performed it at the opening night party in an alley playing on thrift shop instruments.

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Not at the party that night but always in my heart is Philip Bailey.  As anyone who’s ever listened to EWF knows, Philip has just about the most extraordinary falsetto voice as any human being ever created. Until last night at the Bowl it had been at least 15 years since we’d seen each other.

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I can’t tell you how happy I was to be reunited with Phillip. Just like I can’t tell you how proud I was to be part of this extraordinary group whose message  has been rock-solid-2010-spiritually-evolved since they began recording in the late 60s. Phillip felt the same way about me as evidenced in this video that unfortunately cuts off right when he gets going. (I suppose I should be grateful for having even this much of the conversation on tape though truth be told, my heart felt like battery acid was lacing through it when I saw the camera dangling from the arm of the person I had given it to to shoot as opposed to being pointed at us capturing every single once-in-a-lifetime word.)

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I know it’s hard to hear so I’ve stooped to typing out what Phillip said because it meant the world to me. Phillip: “Allee Willis is one of the greatest writers who ever lived or breathed.  Without Allee Willis, a lot of those songs wouldn’t be here for us, for Earth Wind & Fire….”

Luckily I only went for a photograph when I saw Ralph Johnson, the third original member still in the group.  We hadn’t seen each other since the early 80s. It will most certainly not take another 30 years for this to happen again.

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Even the Godhead himself and the man without whom I would never be where I am today as a songwriter took the stage for a few moments. Maurice White hasn’t performed with the group for years and the audience went insane when he walked out. He left before the party afterwards but here’s a photo of us taken a few years ago at the opening of Hot Feet, a musical featuring all EWF music in which I had seven songs. We’re with two of my all time favorite songwriters in the universe, Ashford and Simpson, and LaChanze,  who won the Tony for playing Celie in my musical, The Color Purple, playing just down Broadway from Hot Feet at the time.

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Now back to The Bowl. Here I am with Greg Phillingaines, the completely brilliant artist and keyboard player who also was a prominent part of my musical history, not to mention playing on every important Michael Jackson solo record and about a trillion other ones you know.  Not to mention that he’s also playing on “I’m Here”, a song of mine from The Color Purple that’s on Fantasia’s new CD.

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I had the time of my life Friday night but I still don’t like the crowds, the walking, the people singing out of tune next to me or blocking my view because they’re up on their feet dancing. But if anything could change my mind it was this experience of 17,000 people going nuts while the group who changed my life, a dream orchestra and easily some of the most spectacular fireworks I’ve ever seen accompanied my music.

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Ba-de-ya.

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I’m supposed to be traveling today but won’t know if I’m going until a couple hours before the flight due to complications on my collaborator’s side. I’m not the world’s most eager traveler to begin with but having a suitcase that makes me smile every time I look at it sure helps if one is of the nature that their traveling psyche can be affected by aesthetics.

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In three weeks I’m throwing a party/AIDS Project of LA fundraiser to introduce the Kitsch Pop art of John Lloyd Young, to whom the musical I co-wrote, The Color Purple, lost the Tony to the musical in which he starred and won a Tony for, Jersey Boys.

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None of which is relevant at all to the Disco suitcases or Pomplamoose, who I’m supposed to be recording with should I actually get on the plane today, other than the chances of me leaving town before the party if I don’t leave this week are grim. But I love working with Pomplamoose and keeping my Disco suitcases packed will keep the flame burning under the pieces of six songs we wrote and recorded together back in December and have been trying to finish ever since.

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I first saw Pomplamoose on YouTube when they did my song, “September”.

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I’ve seen trillions of versions of “September” and no one gets within a continent of Earth Wind & Fire (where my percussion obsession began and what gave me a permanent seat in the vortex of Disco). But Pomplamoose dissected that thing like a frog and reconstructed something inventive and fun so I did what I never do, I tracked them down and asked if they wanted to make records together.

I’m a percussion freak and the rhythmic places Pomplamoose goes is very exciting when one thinks about all the pockets a percussion crazy person like me can drop sonic seasoning into. So here’s what my Disco suitcases are packed with for my trip:

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I loved and still love Disco, not at all a Pomplamoose thing but very much an Allee influence when when thinking about making great Pop records. An incredibly amped and happy state of mind fueled by music that melodically and rhythmically is the equivalent of 48 sets of little feet attached to your heart and racing you over the finish line of Pop Soul.

Disco, and my suitcases as representatives of it, still make me feel good even if I don’t feel good about not knowing whether I’m traveling or not today. We shall arrive whenever the time is right and pick up on the exact bass note we left off on. Of that you can be sure!

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This starts out looking like a performance in a dinner theater and quickly spirals into something out of “Hair”. Between ‘costumes’ from much earlier in the  ’70s than when my song came out and the exceedingly Caucasian phrasing of the lyrics and choreography this is, in a Kitsch lovers universe, a stupendous rendition of “September”.

If you live in Los Angeles, come to Ghettogloss on Monday night, September 21 (“Do you remember the 21st night of September?”) for a party commemorating the opening of The Allee Willis Museum of Kitsch featuring karaoke versions of this song that changed the course of my career. Hopefully, you’re as skilled as the folks who took the stage at Abilene High.

This starts out looking like a performance in a dinner theater and quickly spirals into something that out of “Hair”. Between ‘costumes’ from much earlier in the 70s then when my song came out and the exceedingly Caucasian phrasing of the lyrics and choreography this is, in a Kitsch lovers universe, a stupendous rendition of September.
If you live in Los Angeles, come to Ghettogloss on Monday night, September 21 (“Do you remember the 21st night of September?”) for a party commemorating the opening of the Allee Willis Museum of Kitsch featuring karaoke versions of this song that changed the course of my career. Hopefully, you’re as skilled as the folks who took the stage at Abilene High.