Anatomy Of THE Groove Presents Teena Marie Week: “Playboy” (1983)

Teena Marie was leaving Motown behind at a critical time for funk/soul artists in general. In the United States anyway? That genre was mired in what myself and friend Henrique referred to as the post disco freeze out. The synth pop/New Wave genre that had come up in Europe during this time,itself an extension of Eurodisco and funk,seemed to be a good new direction to go into for radio play. Meanwhile,this was colliding with the synth accented boogie sound. And basically Lady T was as caught up as anyone in this shift of instrumental priorities.

Lady T signed with Columbia subsidiary Epic Records in the fall of 1982-with the promise of more autonomy over her business career. The result was her own publishing company known as Midnight Magnet. This event plus the dissolution of her romantic affiliation with Rick James became the centerpiece of her concept album Robbery from September 1983. While it integrated the synth rock elements of the era with her jazzy ballad framework? There was still plenty of time of strong funky grooves. My favorite of which is called “Playboy”.

Another strong drum kick introduces the song into it’s powerful stop/start Afro-Cuban rhythm that is mixed high and defines the song. What comes next is an elaborately arranged mixed of instrumental melody and harmony. The horn charts basically define the sound-while a round,mid toned synthesizer takes over the minor chorded elements that might’ve normally been done with strings.  On the refrains,the synth becomes more brittle and the rhythm more strident. On the final chorus,Teena gently raps the lyrics over the original rhythm and a subtle electric bass line.

Something about this song’s arrangement perfectly encapsulates it’s lyrical concept. It’s a complex series of instrumental solo an rhythmic changes,and it goes along with Lady T’s uncertain mood throughout the song itself.  As she questions her position as being closer to Rick James mistress than apparent fiancee? Her own little private soap opera unfolds via this uniquely urbane,Latin hued funk groove. It’s one of the most well rounded examples of the boogie funk sound. And a wonderful example of the new type of funk Teena Marie was giving up for the people.

 

 

 

 

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Filed under 1980's, Afro-Cuban rhythm, Boogie Funk, concept albums, Epic Records, Funk, Funk Bass, New Wave, post disco, Rick James, Teena Marie, Uncategorized

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