Anatomy of THE Groove: “Let’s Start The Dance” by Bohannon

Hamilton Bohannon is one of the key figures with me in getting into funk. Starting out as a school teacher,he eventually became a drummer for Little Stevie Wonder’s touring band in 1964. After moving to Detroit in 1967,his band The Motown Sound provided a similar function to The Funk Brothers-backing up many of Motown’s major acts. When the label moved to LA,Bohannon stayed behind and formed his own group. His name became part of the Talking Head spinoff Tom Tom Club’s 1981 hit “Genius Of Love”-chanted rhythmically on the bridge of the song.

Where Bohannon,whose turning 74 today,came into my musical orbit was via the Best Of Funk Essentials  compilation that introduced me to funkiness as a musical genre. It was a song that took me totally by surprise then. And even 22 years later,it still has a similar effect. Last year,I located a used vinyl copy of Bohannon’s 1978 album Summertime Groove. Part of the reason was because I knew that that song was on it. And funk is something I’ve learned to look for in its original album context. Its a heavily funkified album throughout. But still,it just bursts out of the box with “Let’s Start The Dance”.

Bohannon himself kicks right into gear from the start. The majority of the song is a high octane dance groove with the drums and its many fills up high in the mix. The rhythm consists of a high pitched rhythm guitar,a Clavinet playing the melodic accents and a jazzy bass line playing across two octaves. Each choral section is split by refrains featuring Bohannon’s flamboyant break beats-as the guitar plays some of the most rubbery chicken scratch rhythms around. The second chorus gets started with a revved up,rocking guitar part before the Clavinet takes more of a role in the mix before the song fades.

“Let’s Start The Dance” is a superb example of how of hard funk where all the instrumentation and vocals are extremely high key in sound. Even the melodic instrumental parts are projecting the same rhythmic flamboyance as everything else in the song. The result is punishing,super heavy funk that was recorded during the height of the disco era. The powerful gospel belt of Caroline Crawford on the refrains,along the drum breaks/chicken scratch guitar really become the defining moment of this song even after all these years. One which makes this a true late 70’s funk classic.

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