Tuxedo have already been pretty thoroughly covered on Andresmusictalk already. And it looks like Mayer Hawthorne and Jake One are at it again. Just in time for the holidays too. Since I got back into doing this blog with my “five days of funk” concept? Have had some difficulty finding any nu funk to cover,which was part of my original intention. And this single of a new Stone’s Throw label compilation came at me via my YouTube subscription to the duo’s channel on that site. And the name of the song is “Holiday Love”.
The groove gets going with a percussive,mid tempo drum machine rhythm. This is first accompanied by a glossy orchestral keyboard harmony, along with a round and brittle synth bass line. The chorus is sung Roger Troutman style by Jake through a Vocoder. On the second chorus sung with Hawthorne harmonizing on lead? It’s all accompanied by the sound of sleigh bells in a similar manner to the Average White Band’s “School Boy Crush” from 40 years ago this year. It all outro’s it begins, along with the orchestral synth wailing away.
In many ways? This song completes an important multi generational triad of Christmas themed funk. It probably began with James Brown’s “Santa Claus Goes Straight To The Ghetto” in the late 60’s,continued on a couple years later with Donny Hathaway’s iconic funky soul of “This Christmas” and ends with the 80’s electro funk revivalism of this jam from Tuxedo. Musically it blends elements of Marvin Gaye’s “Sexual Healing” and Zapp’s “Computer Love”. Topped off with Mayer Hawthorne’s soulfully honey’d lead vocals.
Message wise the song is right on time. The music video depicts Mayer and Jake pitching woo to their girlfriends-culminating with drinking wine in bed-while all sharing in their musically creative process. It’s just a simple idea of setting time aside for your romantic partner as a holiday gift. Since the last three holiday seasons have consisted mainly of depressing,gun related mass shootings and the conservatively motivated contrivance of the “war on Christmas”? This funk will not only move,but might just remove those undesired effects this holiday season.
Filed under "Sexual Healing", 2015, bass synthesizer, Christmas music, Donny Hathaway, drum machine, elecro funk, Jake One, James Brown, Marvin Gaye, Mayer Hawthorne, Stone Throw Records, synth bass, synth funk, Tuxedo, YouTube
I’m going to start off this blog with a little personal story. During my childhood,my father and I would often make cassette tape recordings together that mimicked our own radio show. Actually have dealt with this in more detail on another blog last year. When we did a 1988 Halloween presentation? My father picked a Stevie Wonder song called “Skeletons” from his then latest album called Characters. I had actually chosen “Superstition” for this selection. But neither my father nor I had the song at the time,and wouldn’t for many many years actually. Unable to understand the lyrical concept of the time? It just sounded like a funky song with a holiday appropriate subtext-the very understandable concept of fear. It’s only more recently that I’ve fully made sense of this association.
The song starts out with what sounds like an 808 drum machine beat playing a mid 80’s style hip-hop/funk beat over which Stevie lays down a menacing sound bass synthesizer-with long spaces between the notes almost as if they are creeping towards you. Then some scratchy,hissing percussion effects play an equally penetrating,yet somewhat farther away sounding,rhythmic role with a bluesy lead keyboard melody played on a DX7 digital synthesizer simulating a Clavinet-giving a glossier and round tone than the actual instrument. Stevie’s lead vocals,on both the main chorus and the refrain are met with a call-and-response vocal that,unlike Stevie’s,is muffled and sung through some vocal manipulation device. Might even have been Stevie himself having some internal dialog. There is also a bridge that repeats itself twice-a variation of the bass synth part from the beginning,only more hesitant sounding.
Stevie Wonder’s outlook on romance ranges vastly across the spectrum from an almost fantastically giddy sense of joy to a sense of legitimate suspicion. That sense that a horrible secret is being kept and must be exposed in order to be released. This song explores the later end of that spectrum. Lyrically Stevie takes on the character of someone lightly scolding his character for having to clear their conscience-pointing out that “you know your mama told you ‘don’t lie'”. He’s definitely moralizing a good deal here. And does so with a playful style-almost as if he’s repeating the words of his grandma or something. The accompanying video clip showcases Stevie recalling bullying he (or his character) dealt with for his blindness. And the fact that as an an adult,he’s playing party to a clandestine affair next door in a stereotypical suburbia-without even physically being able to see it play it visually. Surely this was one of Stevie’s most powerful funk statements of the late 1980’s. And is an easy candidate for one of his funk classics in general.