Terence Trent D’Arby is yet another example of a vital funk/soul revival occurring 30 years ago,in 1987. This ambitious NYC multi instrumentalist came from a multi racial and very confusing back round-with bigamy and a lot of moving around involved. After a failed career attempt as a boxer and going AWOL from the US Army after collage,D’Arby formed the band The Touch while in Germany in 1984. After their debut album,the ambitious D’Arby decided to forge ahead with a solo career. His first and generally best known release being 1987’s Introducing The Hardline-produced out of London.
The first time I heard of D’Arby was with his hit song “Sign Your Name”,a jazzy Brazilian number that I thought was Stevie Wonder at the age of 8. It was decades until I purchased his entire debut album. Many of its other successful songs I’d missed out on originally. Knowing only of another D’Arby song called “Delicate” recorded for his third album Symphony Or Damn from 1991. At that time,one song leaped right out for me and my mom. Especially in terms of its groove. So much so that we actually planned on doing a conceptual music video for the song. Its called “Dance Little Sister”
A high hat heavy funky drum groove begins the song-with D’Arby improvising a a humorous vocal ad lib. After this,the lead synthesizer plays a high pitched,ten note riff over two bars before the instrumentation of the refrain comes in. This is a chunky rhythm guitar and ascending bass line playing call and response to accompanying horn charts. On the choruses of the songs,the harmonic phrases of the melody becomes more sustained to follow D’Arby’s gospel soul shouting. Saxophonist Mel Collins plays a solo over the rhythm section during the bridge before the chorus repeats until the song fades out.
Listening to it all these decades since it first came out, “Dance Little Sister” sounds like something of a middle ground between Prince’s Minneapolis live band funk sound and the approach of neo soul to come within the next decade. It definitely maintains the mid/late 80’s approach of condensing a funk groove. On the other hand,its one of the hardest live band funk jams of the late 80’s to be sure. Not only are horns used on it,but the synthesizer is used in the 70’s approach of having it be part of a full band sound rather than a dominating factor in the groove. Another international funk breakthrough of 1987.