Mayer Hawthorne’s musical vitality has continued to grow on me every time I hear his music. As many times as he’s been written about musically here,his own story as a musician is a very important one to this day and age. Born Andrew Mayer Cohen in Ann Arbor,Michigan the man came out of loving hip-hop growing up-inspired by his father Richard being a bass player in a local rock band called The Breakers and his mother Kathi having once played guitar. He took his stage name from the street he grew up on. After moving to LA, the multi talented instrumental/arranger/producer/singer/songwriter signed up with Peanut Butter Wolf’s Stone Throw Records.
Hawthorne originally recorded instrumental tracks for the label specific purpose of sampling by other artists on the label. When Wolf heard them,he decided they were worthy of a solo album for Hawthorne. After three of his solo recordings released between 2011-2013,Mayer Hawthorne teamed up with hip-hop producer Jake One for the electro funk/boogie album project entitled Tuxedo. Hawthorne was more a musician than a vocalist. But his soulful phrasing and range lends itself well to the instrumental craft he has continued to develop. His newest album is entitled Man About Town and the song that perhaps best shows off all his talents here is “Book Of Broken Hearts”.
The drum patter that opens up the album sounds (and possibly is) directly from the early 70’s drum machine the Maestro Rhythm King. Than Hawthorne’s revving bass lines opens into the song-whose main chorus is build around sunny rhythm guitar strumming. He surrounds this with several equally melodic layers of electric pianos and horn charts. On the refrains of the song,he builds this instrumentation on the pumping rhythm of the bass line. His vocals have the same propulsive quality. On a bridge of the song towards the end,Hawthorne sings with a sea of his own vocal harmonies before it all closes out on the chorus that began the song.
The fact that Hawthorne’s chief musical inspirations are producer/arranger’s such as Isaac Hays,Curtis Mayfield and Barry White it’s no surprise how he approaches his grooves. His vocal arrangements on this song come out of the Daryl Hall school. At the same time his West Coast style of funk sound has the heavy pop craft of Sly Stone and Quincy Jones’ productions for the Brothers Johnson in the mid 1970’s. Hawthorne doesn’t concentrate on trying to be new and original rhythmically,an approach which can lead to cold and boring music today. Instead he focuses on a solid pop/funk groove based on the time honored musical process that created so many of the classics of the genre he admires.
Filed under 2016, electric piano, Funk Bass, funky pop, funky soul, horns, Maestro Rhythm King, Mayer Hawthorne, Peanut Butter Wolf, rhythm guitar, Stone Throw Records, Uncategorized, West Coast
It would seem that 1973 bought a lot of changes into the Family Stone. Sly Stone had pretty much recorded There’s a Riot Going On by himself in a state of paranoid isolation. Band members were dubbed in as needed,with some such as Larry Graham and Greg Errico barely utilized-if even at all. This combined with Sly missing gigs during this era,to the point of it being blamed for starting a riot in Chicago in 1970 meant that some serious changes were needed within the band,if it was going to endure. In 1972 Larry Graham left the Family Stone to form Graham Centeral Station,with drummer Errico leaving during the same period.
During this time Sly himself began revamping the band. He bought in Rusty Allen to play bass during the time Graham was leaving and Andy Newmark as a drummer to succeed Errico. A vocal trio called Little Sister,including future Mrs. Leon Russel in Mary McCreary also came into the mix. Sly recorded with somewhat more involvement from the band for the album that would become 1973’s Fresh. Being a musical perfectionist, Sly insisting on remixing these songs even after the album came out. While this resulted in the original US CD release of it containing some of these alternate takes,the album began with a very defining groove for 70’s era Sly entitled “In Time”.
Sly begins the song with Newmark playing a very idiosyncratic march that intertwines with his own Maestro Rhythm King,an organ based drum machine,to play an Afro Latin percussive rhythm. Freddie plays a very probing melodic guitar with Sly’s organ providing a melodic pillow in the back round. Sly’s two note bass line seems to be present on this part. On the choruses,the drumming gets seriously on the one along with the horns and Allen’s more flamboyant bass parts. And the horns also play their usual call and response role on each rhythm. On the two instrumental refrains,Jerry Martini’s sax solos accompany Sly’s organ before the song closes on it’s own repeated choruses.
What this song does is serve the best possible purposes an opening tune can on an album. It sets the state for the sound for what is to come in that regard. Fresh is an album that blends a stripped down production with a slick sound and a full instrumental approach. And this song can best be described that way. The funk on this song,especially with it’s heavy rhythmic breaks and Sly’s drawling vocals,is more fully formed than it was on the previous album. The sound of the Maestro Rhythm King on early 70’s Sly records would also find it’s way onto Shuggie Otis’s work from the same period. So again,Sly was on the cutting edge of blending innovative instrumentation with strong rhythmic funkiness.
Filed under 1970's, Andy Newmark, drum machine, drums, Freddie Stone, Funk, Funk Bass, guitar, horns, Jerry Martini, Maestro Rhythm King, Mary McCreary, organ, Rusty Allen, Sly & The Family Stone, Sly Stone, Uncategorized