Category Archives: lead guitar

Anatomy of THE Groove: “Special” by Shuggie Otis

Shuggie Otis represents what I refer to as a “new old artist” who defined my musical interests just after the turn of the millennium. His only knowledge to me before that was a passing reference as the composer (and original recorder of) the Brothers Johnson hit “Strawberry Letter#23”.  It was through a Luaka Pop label reissue of his under sung 1974 album Inspiration Information that got my attention,through my father of course. My first thoughts hearing it was “this was a Prince/Stevie Wonder type musician who never was”.

Otis’s father Johnny was a very famous musical impresario,known in the lingo of his day as the “white negro” singer/musician/arranger/talent scout/DJ out of the Bay Area of California. Shuggie began playing with his dad in the end of the 60’s. But his own career never truly took off. In fact,he spent over 33 years tinkering with his follow up to Inspiration Information. The album was finally released in 2013 and was entitled Wings Of Love. Recorded over several decades,the first full song on the album (recorded around 1980) really caught my own ear. It was called “Special”.

A wooshing sound drives in the fuzz/ringing rhythm guitar combo of the intro as Otis responds to his own echoplex vocally. Than the main rhythm of the song kicks in-driving both the refrain and chorus whose changes are carried largely by Otis’s vocal changes. The drums have a heavy Brazilian march approach. The bass line loops around several guitar parts. One a phat wah wah,the other a light chicken scratch and another playing a quavering,high pitched ringing melody. On the refrain parts,Otis singing’s in a higher and calmer voice. And on the refrains,with a heavier shout along with the ringing guitar part.

Again,this was a song that seemed to be recorded in the early 80’s. Yet its origins seems to come out of the psychedelic/cinematic funk sound of the late 60’s/early 70’s. The production is very trippy-full of echo and fuzz filter on nearly every sound. Yet the groove is strong and funky all the way. In the intro especially,it reminds me a bit of Curtis Mayfield’s “(If There’s A Hell Below) We’re All Gonna Go”. Needless to say,this is generally punchier and more stripped down than that song was. Still,its one of the finest grooves I’ve heard Shuggie Otis throw down since the mid 70’s.


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Filed under 2013, chicken scratch guitar, cinematic funk, drums, Funk Bass, funk rock, fuzz guitar, guitar, lead guitar, psychedelic soul, rhythm guitar, Shuggie Otis, Uncategorized, wah wah guitar

Alphonse Mouzon: Mind Transplant+ More

Mind Transplant

Alphonse Mouzon is turning 68 today. He’s a drummer that I first heard about via my father’s purchase of the double CD set Move To The Groove: The Best Of 70’s Jazz-Funk during the late 1990’s. The song of Mouzon’s featured from that compilation was 1981’s “Do I Have To”. It is currently not available on YouTube. So am doing a special review of the only album of Mouzon’s that I own on CD,1975’s Mind Transplant.  Its special because again, is no longer electing to leave my customer review of the album up. So am going to present it here for you again

As a drummer,keyboardist,composer and producer Alphonse Mouzon it’s funny that his solo career never really made as huge an impact as his main rival at the time Billy Cobham. As drummers,their specialty was dexterity as what you might describe as highly athletic drummers. But the difference’s might’ve lay in the bands they were associated with.

Cobham’s compositions tended to be very technically precise and complex in the manner of Mahavishnu Orchestra’s classic sound . Mouzon came out of Weather Report’s more fluid groove based style of playing. The sounds of those bands alternately effected and were effected by the presence of this two musicians. On here the opportunity presents itself here.

Recorded largely with the company of some enormous guitar talents such as Tommy Bolin,Jay Graydon and Lee Ritenour this album presents a very strong rhythm section exploring too often very different ends of the electric jazz spectrum. The title song explores a perfect mix of jazz-funk and jazz-rock fusions whereas “Snow Bound”,”Happiness Is Loving You” and the vocal number “Some Of The Things People Do”.

The later song addresess escapism through addictions and denial,are all heavy rhythmic funk of the highest (and best played) order. On the more instrumental jazz-rock fusion numbers such as “Carbon Dioxide”,”Golden Rainbows” and “Nitroglycerin” Tommy Bolin takes over as soloist with the exception of “Ascorbic Acid” with Lee Ritenour and Jay Graydon duetting.

As a jazz-funk drummer Mouzon showcases a great deal of talent in terms of his ability not only to express many different ways with the groove but also with his participatory relationship with the other musicians and their playing. On the more jazz-rock numbers his musical dexterity takes over and he falls right into formation with Tommy Bolin who,while only one of three guitar soloists,definitely dominates on the numbers he solos on.

Because there were so many drummers in the fusion genre at the time from Cobham,Stevie Gadd to Norman Connors it didn’t seem like there was much room for the likes of Mouzon. Though matched with more of a technical skill than Connors and possessing a far strong ability with song craft than the more musicianly Cobham,Mouzon probably didn’t enjoy the success he deserved with this album. But he did deserve it.

There is another reason why this overview is special. And its more personal.  A few months ago,Alphonse Mouzon was diagnosed with  Neuroendocrine Carcinoma. This is a rare form of cancer. And is apparently in its latter stages. With the very recent passing of Sharon Jones of another type of cancer, death hangs heavy over the year 2016. Mouzon is still alive though. And a GoFundMe page has been set up for helping out with costs and treatments. Please visit that page. And look to his Facebook page for regular updates on the health status of Mister Alphonse Mouzon.



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Filed under Alphonse Mouzon,, drums, Jay Graydon, jazz funk, jazz fusion, lead guitar, Lee Ritenour, Music Reviewing, Neuroendocrine Carcinoma, rhythm guitar, Tommy Bolin

Prince 1958-2016: “1999” (1982)

Prince was one of those artists whose creative peak hit right around the same time as his creative juices were really flowing. He was the ultimate funk rocker of his day-doing everything he could to prioritize a hard groove while rocking out just enough for the musical demands of that era. And founds ways to challenge himself at doing both. By 1982,he was developing a reputation among musical oriented people as someone who was able to take all the elements of what he did,and strip them down to their most basic elements. Of being instrumentally simple without being musically simplistic.

Late in the year his his fifth album 1999 was released. It came out into a musical environment where MTV’s championing of music video was moving pop music ahead in the same way radio had in earlier decades. Not only was Prince’s visual flair helpful in this regard. But he also was more than aware of the social politics of the final burst of the cold war in America. Following the the USSR’s and USA’s actions in Afghanistan around this same time,the issue of atomic war was again on the map as the world contemplated a nuclear freeze. Prince drew on this impulse for the title track of his new album.

A slow,deepened voice opens this song telling us it only wants us to have some funk-eventually  to the beat of a Linn LM-1 drum machine. The Linn’s pulse is then joined by a sustained rock guitar and a dramatic synth horn. A snare heavy live drum begins playing behind this basic structure. This provides the general chorus and refrains of the song as Revolution members Dez Dickerson and Lisa Coleman trade of vocals Sly & The Family Stone style with Prince. On extended chorus at the end of the song,Prince asks “mom why does everybody have the bomb” over his funky rhythm guitar.

“1999” is one of those songs that is rhythmically stripped down but sounds extremely full at the same time. The fiery dynamics of the lead synth brass,now an iconic riff of the style,along with the layers of lead/rhythm guitars (from rocking to funky wah wah) lead this to be one of the hottest funk hits of its time. While its vocal trade offs and sunny melody come straight of the Sly styled flower power funk,it basically reflects the slightly cynical hedonism of wanting to party into the apocalypse. That combo marks this as the beginning of Prince bring his funk more and more to the masses in his musical prime.


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Filed under 1980's, 1999, Dez Dickerson, drums, lead guitar, Linn Drum, Lisa Coleman, Minneapolis, MTV, naked funk, Prince, Prince & The Revolution, rhythm guitar, synth brass

Prince Summer: “Sign O The Times” (1987)

Prince was one of the most important figures for advancing funk during the early to mid 1980’s. Funk is the music that represents the rhythms and messages of black America from the late 20th century onward. Free jazz artist James Blood Ulmer once said jazz is the teacher,funk is the preacher. During the early 80’s,the emerging genre of hip-hop was extended on funk’s sociopolitical messages. Because of Prince’s stripped down sound, frank lyrics and appeal to Generation X,The Roots’ Amir Questlove Thompson has even suggested that Prince’s purple funk is a form of hip-hop.

Prince was a very busy man in 1986 in terms of recorded. He recorded enough music for at least three albums that year. While he and Warner Bros argued over how much to edit this material into releasable form,America was facing some major challenges. AIDS was a massive epidemic that was being ignored by the government,gun violence,natural disasters and the destruction of the space shuttle Challenger were inspired many Americans to again raise their voices with some level of protest. Prince decided to protest in his own way in July 1986 when he recorded the song “Sign O The Times”.

Prince gets the song started with a brittle synth snare pulse,accented by brushing percussion even on the two beat end of the rhythm pattern. This is accompanied by a round,dripping synth line playing a funky rhythm guitar type melody. He hits on the live snares during the main chorus of the song-while using a Fairlight sampler to provide the bluesy funk slap bass line. After that refrain,Prince accompanies himself on another more orchestral synth with a rocked up blues guitar lead. On the refrains,all these instruments play in closer unison in the same higher key-until the song fades out on it’s chorus.

Musically speaking,this song is something of a culmination of Prince’s approach as a multi instrumentalist. It’s still got the stripped down rhythms that he pioneered earlier in the 80’s decade. The big difference comes from the approach. Prince had begun to use early electronic samplers on this song-singling out live instrumental bass solo’s (for example) rather than providing a synth bass line. The song also doesn’t feature a synth brass line simulating horns. Everything about the song focuses on the rhythm section. The guitar,bass and drums all have a crawling,bluesy funk flavor within their groove.

Lyrically this songs message rings disturbingly true-especially now. As the news about Omar Mateen,the New Yorker who committed this mass shooting in Orlando Florida, continues to unfold,the media has been asking the question of what kind of nation has America become to almost tacitly accept mass gun violence as an inevitable reality. This song asked questions like that 30 years ago. Prince illustrates seeming passive suicide amid American’s in various ways-even saying “Some say a man ain’t happy unless a man truly dies-oh why?”. If Prince could ask the question,today’s America can answer it.

*To Support Victims Of The Orlando Mass Shooting,Click here!


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Filed under 1987, blues funk, drum machine, drums, Fairlight synthesizer, Funk Bass, gun violence, lead guitar, message songs, Minneapolis, Minneapolis Sound, political songs, Prince, Sampling, synthesizers, Uncategorized

Anatomy of THE Groove: “I’m Leaving You” by Robert Glasper w/ Miles Davis,Ledisi And John Scofield

Robert Glasper shares a lot in common with another musical free spirit in the late Miles Davis. The Texas native got an early start in dealing with the jazz hip-hop style which of course Miles was beginning to embrace during his final years. While in high school,he met neo soul singer Bilal. This led to gigs with other jazz informed hip-hoppers such as Q-Tip,Talib Kweli and the late J Dilla. He made his debut album in 2004,and his major label debut for Blue Note a year later. On his album Double Booked,he began moving towards a more electric sound. But that was only the beginning as it turned out.

In 2012 he released the first in what’s been two separate volumes of his Black Radio series. The subtext for this,which I read in interviews Glasper gave to a music magazine of my fathers, went for the Miles Davis angle that the jazz genre needed to improvise over new standards. Both volumes of this album contain covers of songs such as Sade’s “Cherish The Day” alongside his own material. This year,Glasper appeared with surviving members of Miles’ 60’s quintet in the Don Cheadle film Miles Ahead. And one of the grooves on his upcoming Miles tribute album Everything’s Beautiful is called “I’m Leaving You”.

Drums playing at a five beat pattern with a break between each rhythm lay the bedrock for this song. The bass comes out as a round,ascending bottom while the very scratchy guitar samples play as a purely percussive element. Also on that groove,Miles’ trademark horse speaking voice is re-sampled saying “wait a minute,wait a minute” throughout the song. A reedy whistle,a wah wah guitar and Scofield’s bluesy guitar assist Ledisi’s soulful vocals. On the bridge,Scofield takes a full guitar solo after which Ledisi responds to her own backup vocals while the bass line and drum fade the song out in a silent way.

Having not heard a lot of Robert Glasper, this is by far the funkiest song I’ve ever heard him do. The musical bedrock of John Scofield,who of course played with Miles Davis, is held down by a core rhythm section. As well as what sound like metallic rhythm guitar looped from Miles’ 1972 song “On The Corner”. During his lifetime,Miles tended to deal with funk as rhythm vamps to solo over. Here Glasper takes samples of Miles’ music,voice and puts them into a more structured hard funk context. I have a feeling the late trumpet player would’ve found this groove one that came at people with plenty of attitude.


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Filed under 2016, Don Cheadle, drums, Funk Bass, hip-hop jazz, jazz funk, John Scofield, lead guitar, Ledisi, Miles Ahead, Miles Davis, Nu Funk, nu jazz, Robert Glasper, Sampling, wah wah guitar

Prince: I Rock Therefore I Am


Prince’s music enviably would end up being the Minneapolis sound. It turned out to be a rather variable form where soul,synth pop,blues,rock ‘n roll and even jazz would all combine through a particular sonic framework. Personally speaking,the basis of Prince’s sound was always funk. He did however grow up listening to a lot of Jimi Hendrix,Carlos Santana and Joni Mitchell too. Whether it be on electric or acoustic guitar,Prince also enjoyed rocking out. Be it on a possible hit single or to let his virtuosity on guitar have it’s way. So here are my personal favorite rock oriented numbers from ”

“I’m Yours” from For You (1978)

Prince always insisted that Carlos Santana was a major influence on him as a guitarist. Mainly because “Santana played prettier” to quote the man on the subject. With his use of sustains and Latin style melodies,this powerfully produced number from his debut album (with it’s heavy reverb and echo) is the earliest released example of his lead guitar chops.

“Why You Wanna Treat Me So Bad” from Prince (1979)

It was Prince’s childhood friend and fellow band mate in his earlier touring group The Rebels, Andre Cymone, who played bass and sang backup on this tune. This is where Prince really showcased his ability to write and perform radio friendly,hook filled rockers. With this one having that sleek West Coast production flair of his late 70’s albums.

“When You Were Mine” from Dirty Mind (1980)

Warner Bros executives have been said to have commented that “we signed the new Stevie Wonder,and he’s giving us the new Ric Ocasek” upon hearing Prince’s third album for the first time. And it likely has a lot to do with his song. Prince’s brittle,low rhythm guitar pump and melodic keyboards have The Cars’s musical flavor written all over it. With it’s hook filled singability and classic new wave guitar riff (not to mention becoming a hit agai with Cyndi Lauper covering it four years later),this might be one of Prince’s very finest rockers ever.

“Private Joy” from Controversy (1981)

While not a guitar rocker,this song really showcased Prince and his band the Revolution evolving into itself with synth pop/new wave based dance music. It has a simple rock style melody performed on the Linn drum machine plus a few layers of synthesizers. So it showcased Prince’s ability to rock even without guitar soloing.

“Let’s Go Crazy” from Purple Rain (1984)

With it’s gospel style theatrics,fast tempo,brittle guitar and keyboard? This song might just be the moment when Prince’s rock side fully matured musically. With rock ‘n roll really being divided along racial lines after the late 60’s,this song finds Prince “bringing it back to church” by joining Little Richard and Jimi Hendrix in re-introducing rock ‘n roll with a very heavy black American musical subtext.

“I Could Never Take The Place Of Your Man” from Sign O The Times (1987)

Prince really bought out the hand clap powered,orchestral melodic guitar sound of Phil Spector via Bruce Springsteen’s E-Street band in this extraordinarily catchy heartland style pop/rock number. This is one of Prince’s catchiest rock songs since the days of “When You Were Mine”.

“Thieves In The Temple” from Graffiti Bridge (1990) 

Prince actually did something rather unique with this song. It has a mysterious,late 80’s arena rock flavor about it’s production and guitar sound during the main choruses. But the melodic construction has a theme similar to the type that a mid 60’s jazz musician might improvise off of. That probably has a lot to do with why Herbie Hancock did an acoustic jazz version of it on his The New Standard album seven years later.

“Cream” from Diamonds And Pearls (1991)

With it’s rhythmic mix of Southern soul and countrified blues rock, this Prince hit actually hits on a very similar musical vibe to Bonnie Raitt’s hit “Something To Talk About” from the same era. Prince also takes the instrumental sound he gets with the NPG and allows the melody to just drip with that rascally,old school blues sexuality.

“Cinnamon Girl” from Musicology (2004)

Been listening to this song lately. Since the turn of the millennium,Prince began writing hook filled protest rockers more than he ever had. This one has a similar acoustic texture to his more recent song “Baltimore”. This one tells a very significant story America is still dealing with today: post 9/11 racial profiling and discrimination against those with a Muslim back-round. Prince did himself a lot of good by being one of the view high profile musical voices taking a bold lyrical stance against America’s dog whistle heavy “war on terror” of the early aughts.

“Rock And Roll Love Affair” from Hitnrun Phase 2 (2015)

Actually a couple of years old at the time of it’s album release, this song has a similar vibe to “Cream” from a quarter century ago-in terms of it’s country/blues-rock approach. Prince adds dramatic Minneapolis style synth brass to this one though. Since there’s a good possibility this might’ve been among the very last rock numbers Prince recorded,it finds this element of his sound seeming to come full circle.

As with many of the list style Prince articles I’ve written o Andresmusictalk,the erratic presence of Prince’s music via YouTube is still a factor. Songs such as “I Rock Therefore I Am” and “Fury” are not present here for that very reason. While they will be dealt with on this blog later,and in different ways? This is really about how Prince was able to evolve as a guitar soloist and pop songwriter through the rock oriented side of his artistry. Now that the man isn’t with us anymore,the seeds he planted as a guitarist from Lenny Kravitz to Gary Clark Jr. have strong potential to carry on this particular side of his legacy.










Filed under 1970's, 1980's, 1990s, 2000s, 2010's, Blues, funk/rock, guitar, lead guitar, Minneapolis, Minneapolis Sound, New Wave, Prince, Prince & The Revolution, protest songs, rock 'n' roll, rock guitar, synth brass, synthesizer, Uncategorized, YouTube

Anatomy of THE Groove: “Night Train” by Steve Winwood

Steve Winwood is someone whom I don’t believe has been covered anywhere on Andresmusictalk as of yet. His musical conception is interesting because of his talent across two spectrum’s.  Winwood is a multi instrumentalist across a broad variety of string and keyboard instruments-as well as drums. At the same end,he also parlayed his talents as a member of bands such as The Spencer Davis Group,Blind Faith and finally Traffic. By the time of Steve Winwood’s solo debut in 1977,the man was already a stand up band leader at least twice over-while still being able to do it all on his own.

The Birmingham,England native began his career playing in his father and brother’s jazz band. And became active on the areas blues scene-his vocals being compared to Ray Charles. So a strong sense of soul always defined his creativity. His second solo album was 1980’s Arc Of A Diver. Much as Stevie Wonder,Prince and Todd Rundgren had done he really exercised his multi instrumental talents here-playing and producing the entire album with only Will Jenning’s co-writing some songs. It re-invented him as a commercial viable artist. And the song that musically expresses this best for me is “Night Train”.

A revving guitar starts up this groove before the percussive synthesizer comes in. After that a bluesy amped up guitar solos directly into the bouncy dance beat of the drums and the very funky bass line that responds to the rhythm in kind. Before the next part of the song starts up,the synth solo that begins the song is accented with a a synthesized string ensemble. Winwood plays a straight blues guitar solo to his vocals along with the synth strings. On the choruses,the melody merely goes into the minor chord. After a rather Brazilian style drum break on the bridge,the song plays out it’s refrains until it fades out.

On a personal level,it still makes me crack up a little bit to remember the first time I ever heard this song. At the age of 11,my parents would set our VCR to record the original Star Trek series for me late at night-commercials and all. One which was constantly repeated was a PSA for the local ABC affiliate about how advertising on TV worked. I loved the funky jam playing in the back-round. Only a decade later when I purchased the Modile Fidelity edition of Arc Of A Diver did I realize the song from that commercial was “Night Train”. Really shows you how funky instrumental music is dismissed as muzak sometimes.

One thing I’ve noticed about the most successful of multi instrumentalists is the level they utilize their talents to express their full abilities. Of course one has to be instrumentally humble in the more democratic environment of bands. On this song,Winwood brings together all of his musical influences into the synth pop of the early 80’s. The song itself is structured closely to the 12 bar blues. Still the rhythmic synthesizer and general keyboard vibe is straight out of the disco/funk sound of the late 70’s. So the end result comes out as a rock musician making his own type of uptempo boogie funk record in the end.

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Filed under 1980's, Arc Of A Diver, blues funk, Boogie Funk, drums, Funk Bass, lead guitar, multi instrumentalists, Steve Winwood, synth funk, synthesizer, Will Jennings

Anatomy of THE Groove: “Just As Long As We’re Together” by Prince


Prince’s 1978 debut For You is an album that I’ve personally tended to give heavy props to. My friend Henrique has pointed this out many times. Whenever the album is written about,it’s generally described as technically flawless musically. But that the songs tend to plod on in repetitive jams that don’t come across to many as very listenable. One thing about it’s personal appeal here comes from this very quality. It showcases for sure that funk was the bedrock of Prince’s music,with his ability to stay squarely on the one. And that’s not even to mention how much of the Minneapolis Sound is already present here.

It does bare some degree of repeating however that ever since this blog has existed, Prince’s music has not been present on most areas of the internet. And on YouTube in particular. So there was no way to give Prince a proper musical overview by the use of this feature of the blog. Since that is awkwardly showing signs of changing,it is fitting to start discussing the individual songs from the For You album one at a time. There are a few numbers on this album that really helped reshape the face of funk for the coming decade. And one of them was called “Just As Long As We’re Together”.

A drum kick off gives way to a sustained ARP string ensemble showcasing some rolling Minneapolis synth brass over it for the intro. Another kick off brings the song into the uptempo dance beat of the song,underpinned by a percussive slap bass line all the way along. The chorus returns to the instrumentation and melodic sound of the intro-with an acapella break from Prince separating the refrain from the chorus. As with most of his earlier music,Prince’s sings most of this in his falsetto range. On the second refrain however,he drops into a softer version of his lower register he’d use later.

On the second half of the song,Prince plays the melody with a Carlos Santana-like crying tone on lead guitar before going into a hi hat/synth brass heavy drum break that leads into a more minor key version of the chorus. This evolves into Prince singing falsetto vocalese with the synth brass before the song strips down to the slap bass and ringing Afro-Cuban percussion. The synth brass gradually returns-playing continual call and response with Prince’s rapid fire bluesy guitar riffs. The synth brass plays some hot and heavy charts as the groove itself fades on into it’s own aurally purple sunset.

There’s been much talk about  how awkward it was for Prince to have all the instruments he played listed when half of them were keyboards of some sort. Instrumentally though,that very much defines this song. Structurally, “Just As Long As We’re Together” isn’t far removed from what melodic funk bands such as Earth Wind & Fire were doing at the time. The difference was the spacier flavors of the futurist synthesizers Prince had playing his horn charts. Prince’s ability to take a style of funk prevalent at the time and making it his own showcases his early adaptability with a good groove.




Filed under 1970's, ARP string ensemble, drums, Funk, lead guitar, Minneapolis, Minneapolis Sound, percussion, Prince, rhythm guitar, slap bass, synth bass, Uncategorized

Anatomy of THE Groove: “Don’t Cost You Nothing” by Ashford & Simpson

Nick Ashford and Valerie Simpson have been strong musical examples for many songwriter/performers. Though we lost Ashford to throat cancer six years ago this August,the success of this happily married duo is important on two levels. For one,the pair were part of the transition from the age of the producer to the age of the artist in music-when they began recording albums on their own starting from the early 70’s. Additionally, they successfully beat the odds of the musician’s life as not being able to sustain married duos. Not to mention parlaying their success into other ventures.

This duo came right out of the church in more ways than one. They met at White Rock Baptist’s in Harlem. That’s when they first took a stab at recording as a duo. By 1966,they had penned a major hit for Ray Charles in “Let’s Go Get Stoned”. Later that same year,they landed at Motown records. They became the force behind the big Marvin Gaye and Tami Terrell hits such as”Ain’t No Mountain High Enough” and “You’re All I Need To Get By”. When Terrell became ill with a brain tumor,Simpson herself provided ghost duet vocals with Marvin for their final duet album Easy.

While the pair sang (and Ashford wrote for) the gospel quartet The Followers in the early 60’s,it wasn’t for another decade until the band signed to Warner Bros. as a duo and recorded their debut as such in 1974’s Gimme Something Real. Their fourth album came in 1977’s Send It. My first exposure to the duo and music from this album came from my father via a James Earl Jones hosted social security PSA album called Genius On The Black Side,which profiled important black musicians. And the name of the song included on that from this fourth album is called “Don’t Cost You Nothing”.

Christopher Parker’s hit hat and snare heavy drums start out the groove,with Francisco Centeno proceeding to deliver one of my personal favorite slap bass solos of the late 70’s. Eric Gale delivers some liquid rhythm guitar,along with the hand claps as the groove advances. The drum begins delivering a driving 4/4 dance beat with the liquid guitar accented by Simpson’s bluesy piano and Gale’s BB King like tone on a lower guitar line. This comes to prominent on the breakdown of the song. After a dramatic upscale,the bass and guitar allow Gale to deliver one of his bluesy lines in a solo before the song fades out.

During the time that  Ashford & Simpson were about to unleash Chaka Khan’s debut solo hit in “I’m Every Woman” and Angela Bofill’s powerful album cut “Rough Times”,they were both really getting the disco era funk groove down pat with songs like “Don’t Cost You Nothing” on their own. Along with it’s strong late 70’s funky hump,especially the stomping bass,Simpson’s piano along with Gale’s bluesy guitar and Simpson’s grunting vocals really allow this song to get it’s groove on big time. And showcases how this duo,generally known for love ballads,really knew how to give up the funk.

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Filed under 1970's, Ashford & Simpson, disco funk, drums, Eric Gale, lead guitar, Motown, Nick Ashford, rhythm guitar, slap bass, Valerie Simpson, Warner Bros.