Richard Fields,who apparently got the nickname Dimples by a female admirer who noted his ever-present smile,started his career as the owner of the Cold Duck Lounge in San Francisco. He released a couple of albums locally in 1975 and 1977. In 1981 he signed with Neil Bogart’s Boardwalk Records. His best known song was a remake of a song from his debut album called “If It Ain’t One Thing,It’s Another”, a message song of sorts that he was encouraged to re-do by an old high school friend he ran into at a used car lot. He had a good handful of hits in the 80’s that slowed over the years until he finally passed away in 2000 in the Bay Area city of Oakland.
During my childhood,a 45 of his hit “If It Ain’t One Thing It’s Another” was in rotation in the family home. It was the B-side to this entitled “Mr.Look So Good”,an uptempo disco/funk number that was the title song to his 1982 album,which got my attention most. Something about his soulfullness and conversational lyric style was always appealing. One day I came across another one of his albums while crate digging entitled Give Everybody Some!,also released in 1982. It’s the only full album by him I presently own. And it has a lot of excellent songs on it. The song that always stands out in my mind however is entitled “Butter”.
A pounding,deep bass Clavinet opens the song along with an uptempo,percussion laden drum beat. Two grooving rhythm guitar’s accompany this-one of which plays a more liquid line while horn fanfares call out on each break. A phat slap bass line brings in the main body of the song. It’s a very bluesy melody on the refrain and chorus. And once the intro is over,a brittle bass and higher pitched melodic synthesizer provide the man rhythmic hump whereas the horns and upfront bass carry the melody Dimple’s is singing more. Just before the song fades out,the synthesizers take a back seat to the drum,guitar and horn line that opened up the song on the intro.
This song is a touch post disco/boogie classic that actually focuses on a lot of harder 70’s funk elements,such as horns and a thick slap bass. But the synthesizers and sleek beat are still very much present. Especially on the JB’s style rhythm guitar and stripped down dynamics,this also brings out an early 80’s Minneapolis Sound flavor about it as well. Fields’ vocal style is very interesting one to me. It has the idiosyncratic nasal drawl of Michael Jackson,but also the quiet groan of Ray Parker Jr. There is surely a distinctive vibe to this funk. And a lot of that has to do with how strongly it straddles two generations of the music: the one of the present and that of the immediate past.