Daryl Hall & John Oates have been part of the soundtrack to the lives of millions of pop music lovers of the early/mid 1980’s. These Philly natives had a handful of smash singles in the mid to late 70’s. And unlike many white artists doing soul/funk they (in a similar manner to Boz Scaggs and The Rolling Stones),they innovated and embraced the side of the genre that was contemporary at the time. When they began producing their own records starting with 1980’s Voices,they soon found themselves the most commercially (and in my opinion,creative) American duo of the 80’s decade.
Personally I had the pleasure of seeing Daryl and John perform live at the Darlings Waterfront Pavilion in Bangor,Maine this past summer. It amazed my ears to not only hear them abstract on their classic hit songs in a very instrumental way,but how positively the audiences responded to them. One of these hits reminded me of the very first pop song I remembering hearing-likely at around 3 years old at the Bangor Mall. Over the years,its become of those songs that defines my listening tastes for its melodic and solid musicality. The name of the 1981 song is “I Can’t Go That (No Can Do)”.
Daryl Hall’s Roland CR-78 drum machine,reverbed by echo on each beat,begins the songs soloing before John Siegler’s upfront,8 note bass line chimes right in. Than Hall’s glistening,high pitched synthesizer comes in. That along with John Oates chunky rhythm guitar and another counter keyboard from Hall. That countering keyboard duets with Hall’s vocals-even on the chorus when he and Oates are harmonizing on the choruses. Charles DeChant takes a beautiful sax solo on the bridge that’s heavy on melodic sustain. All before Daryl and John riff on the chorus until the song fades out.
This is probably my very favorite Hall & Oates hit from their early 80’s run. It has all the hallmarks I love about them. The emphasis on the heavy drum machine rhythm/bass interaction,the choral modulations and harmonic complexity and still providing the capacity for the listeners to tap their foot and sing along to it. Its prime #1 funk for 1981. So much so that it inspired Michael Jackson while making his blockbuster album Thriller‘s hit “Billie Jean”. Its one of those great examples of how putting energy into the musical aspects of a song,not just the performance,that makes a huge hit funky and eternal.
Filed under 1980's, Brothers Johnson, Charles DeChant, Daryl Hall, Funk, Funk Bass, Hall & Oates, John Siegler, rhythm guitar, Roland CR-78 drum machine, Saxophone, synthesizer
Earth Wind & Fire’s eighth studio album Spirit is an album that did a lot to help me to personally conceive of #1 hit funk in terms of an album medium. It celebrated its 40th anniversary this year. And I’ve already covered the album itself here. First purchased it on a cassette tape about 22 years ago. At that time,I remember fast forwarding through it to get to funkier songs. Upon upgrading to a CD copy a year or so later,it became clear that this was one of those very special funk era albums. Each time I listen to these songs,they improve like fine wine with each listening. Almost to the point of transcendence.
One member of EWF,who joined up on the bands fourth album Head To The Sky in 1973 was Andrew Woolfolk. This multi reed player primarily played soprano sax within EWF. As he describes it in the documentary on the band Shining Stars, the elements that he added into the band came from the jazz and funk side. He enjoyed a strong,melodic groove. He also loved to improvise in such cases too. Throughout the years,he’s done just this on many of EWF’s most popular and enduring songs. One song from the Spirit album that amazes me to this day is the Maurice White/Al McKay composed instrumental “Biyo”.
Larry Dunn’s glassy space funk synthesizers open the song before the opening fanfare kicks in. Its full on drums,Afro Latin percussion,Verdine White’s pumping bass line,McKay’s percussive rhythm guitar and the Phenix Horns running on their usual adrenaline. Verdine’s echoed five note bass slap,Maurice’s four note Kalimba melody and Johnny Graham’s bluesy guitar accents make up the refrains. Four members of the band get a chance to solo. Woolfolk does twice-starting and at the end. Graham and Dunn do a solo that dovetail right into each other before Maurice’s Kalimba solo before its fade out.
Earth Wind & Fire added many instrumental interludes/bridges to the albums from their late 70’s crossover period. But for me this is the finest full instrumental based on their sound of that time. The production and recording is a fine example of the band making some of the best recorded funk of that era. Its a melodically and instrumentally busy number with a lot going on sonically. But the powerful Afro-Caribbean funk arrangement still leaves enough room for several amazing solos to interlock with each other. And as a showcase for Andrew Woolfolk,its one of his shining moments of the mid/late 70’s.
Filed under 1976, Afro-Cuban rhythm, Al McKay, Andrew Woolfolk, drums, Funk Bass, instrumental, Johnny Graham, Kalimba, Larry Dunn, Maurice White, percussion, Phenix Horns, rhythm guitar, Saxophone, space funk, synthesizer, Verdine White
Ronnie Laws is one of my favorite contemporary sax players of the late 70’s and early 80’s. Along with people such as David Sanborn,Laws’ sound bridged the gap between the bar walking sax style of the 60’s and the sleek smooth jazz sound that was to come. He’s someone who has a way of driving a melody into ones sub-conscience with the power and beauty of his tone. He was also a fantastic soul/funk vocalist. While he obviously can’t vocally accompany his sax the way George Benson can his guitar, his ability to switch off works the funky emotions in the studio.
Laws had worked primarily with EWF keyboardist Larry Dunn as his producer in the mid to late 70’s. The sound they forged together started with a hard bass/guitar centered jazz/funk sound. Later in the decade some of the most cutting edge,spacey electronics /synthesizer orchestrations became an integral aspect of Laws’ sound. . In the early 80’s, the pair continued to adapt their synthesizer based jazz/funk sound into a decade that would be defined by it. One of my favorite examples of this is the lead off track from Law’s 1983 album Mr.Nice Guy entitled “Can’t Save Tomorrow”.
Laws starts out the song sing to the accompanying bass plucks of multi instrumentalist Leon Johnson. Its Johnson who provides most of the instruments on this song. After this intro,Laws’ voice and the bass line dovetail into the main rhythm of the song. That is a fast,funky shuffle consisting of several metallic synthesizers and Roland Bautista’s guitar harmonizing with a jazzy melody to Johnson’s slap bass. On The choruses,Laws sings his lead vocals in falsetto. There are two bridges here. One a sax solo from Laws,the other one of Larry Dunn’s spacey synth interludes before the refrain fades the song out.
All summer long,I’ve had this song on my phone’s MP3 player while peddling my bicycle around town. Its the perfect song for such physical activity because the song is propelled by a lot of forward motion. The drums,the bass,the synths,the vocals and the sax are all extremely earnest here-almost like a musical manifestation of the heart Laws’ lyrics indicate is pounding with intense passion. On the other hand,the production and overall sound of the song remains just about as sweet as any kind of funky music can be. And that’s what makes it one of my favorite Ronnie Laws jams.
Filed under 1980's, drums, jazz funk, Larry Dunn, Leon Johnson, rhythm guitar, Roland Bautista, Ronnie Laws, Saxophone, slap bass, synth funk, synthesizers
Patrice Rushen is an artist I’ve been wanting to write about for some time. And one of the key reasons behind starting Andresmusictalk. She is best known for her hits in 1979’s “Haven’t You Heard” and 1982’s “Forget Me Nots”. The LA native is turning 62 today. Earning her music degree from the University Of California. By the age of 20,her debut album Prelusion had been released-presenting her as an instrumental jazz artist. By the time she signed to Elektra in 1978, Rushen was already a major player in the jazz-funk genre which was deep in its peak period during that time.
A gifted multi instrumentalist,Rushen began singing on her albums after 1975’s Before The Dawn. By the early 80’s,she’d made the transition into a soul/funk singer who still maintained her high quality jazz/funk instrumental backing. Her 1982 album Straight From The Heart is perhaps her most famous album-containing one of her biggest hits in “Forget Me Nots” and showcasing some of her most creatively satisfying and funky music. Being a lover of the Fender Rhodes piano,which is one of Rushen’s passions,one of my very favorite songs from this album is entitled “All We Need”.
This is a song that just starts right off ready for action. The beat maintains a consistent post disco stomp while the rhythm section maintains its fatness throughout. Paul Jackson’s guitar is snapping throughout this song with a hard punchy sound. And the slap bass line of Freddie Washington is popping just as heavy with the dramatic chordal modulations Rushen’s Rhodes and her vocal duet with Roy Galloway provide. The change in melody on the changes of the song add a glistening high tone on the roads before the basic chorus of the song fades it right out.
One thing that strikes me about this song is that instrumentally,its mostly chorus. And its one of the funkiest choruses of the post disco era-with a phat funky bass/guitar interaction and Rushen’s Fender Rhodes carrying the Stevie Wonder like jazz/funk chord modulations. In that way,its probably the ideal jazz/funk song for the post disco era. The instrumentation is very live sounding,the melody is very singable and the composition is full of Rushen’s signature jazz phrasings. So on those levels,its just the type of song that really epitomizes her approach to jazzy pop/funk.
Filed under 1980's, drums, Fender Rhodes, Freddie Washington, jazz funk, LA, Patrice Rushen, Paul Jackson, post disco, rhythm guitar, Roy Galloway, slap bass
It was Henrique who brought to my attention today that Kashif Saleem,born Michael Jones in NYC,passed away this last Sunday. The causes is still unknown as of now,and not that important. What does matter is that while Kashif was well known as a producer for other artists,it all stemmed from lesser sung achievements of his own. He joined the disco funk band B.T Express as a teenager for their third album Energy To Burn in 1976. He began producing for Evelyn King on her 1981 hit “I’m In Love”-beginning a long tradition of him producing funky female talent in the early 80’s. His talent went even further than that.
Alongside Stevie Wonder,Kashif is known as a synthesizer pioneer in funk/soul. He extended on Wonder’s work by creating sounds that became known as the boogie funk sound. That is mixing live rhythm sections with electronic orchestrations and melodies. He was an orphan who managed to get up of a very abusive foster family. While in primary school,he focused strongly on music. Even learning woodwind instruments-pretty rare for even multi instrumentalists. His self titled solo debut came out in 1983. The song that epitomizes his artistry on it for me is an instrumental entitled “The Mood”.
A strong,space heavy Afro Latin snare/hi hat drum starts off the song. The remainder of the song consists primarily of Kashif’s vocals and many layers of synthesizers. There’s a fluttering synth string,a wispy higher tones one in the back round and a brittle bass one accompanying the multi tracked layers of Kashif’s almost operatic,jazzy vocalese. On the refrains of the song,the melody goes into a higher key and a high funky rhythm guitar assists the melody. On the final choruses of the song,Kashif sings vocalese through a Vocoder before the song fades out.
Kashif’s boogie funk production style is generally spare but glistening enough to appeal to 80’s soul singers. But the moment I heard this instrumental 12 years ago,it was entrancing what a sonic marvel this really is. Its basically an Afro Latin jazz/funk number produced in the more electronic boogie style-with some beautiful chordal modulations and…just a general magical quality to the synthesized sounds created. Kashif will be remembered for me as someone able to get the most warmth out of 80’s era synthesizers. And I am hoping that will continue to be his most enduring musical legacy.
Nile Rodgers remains one of my musical heroes to this very day. He’s survived the anti disco backlash his band Chic received,drug addiction and most recently a cancer scare. He’s also done so with gusto,a confident smile and strut,and plenty of new musical activity. Among them (so I hear) working with Janelle Monae on her upcoming album. His rhythm guitar style became one of the most identifiable and influential of the final quarter of the 20th century. That guitar style also shaped his second career as a producer for some of the 80’s biggest acts such as Duran Duran,Inxs and Madonna.
On another level,he actually had a third musical career. And its one that didn’t earn him quite the accolades that he had with Chic or as a producer. That was,irony aside,his own solo career. It all occurred when Chic petered out following their final album Believer. That same year Rodgers embarked on his solo career-presenting himself primarily as a multi instrumentalist/writer/producer/singer. This first solo album was a wonderfully conceptualized package called Adventures In The Land Of The Good Groove. One song that stands out strongly for me is called “It’s All In Your Hands”.
A brittle yet rolling drum machine beat starts out the song unaccompanied-sounding very in keeping with early 80’s hip-hop spareness. After 10 seconds of this,a lead melodic synthesized piano comes in-along with a brittle synth bass line. Rodgers brings in a smooth,reverbed rhythm guitar repeating a rather jazzy melodic theme over this. This acts as the primary body of the entire song. The sexual surrender expressed in the lyrics also remain on the one throughout. The bridge of the song emphasizes Rodgers’ rhythm guitar riffing before that ongoing chorus fades out the song.
Listening to this song outside the context of the wonderfully grooving album its from,it becomes clear how many bridges this song actually crosses. It has the hard break beats and stripped down ethic of period hip-hop-along with the rhythmic instrumental exchanges of funk. Not to mention some of the smoother production values of new wave pop/rock of the mid 80’s. This song represented the transition between Chic’s funky,often jazzy type of disco to the rock friendly dance productions of Nile Rodgers career of the 80’s. And is a superb example of his solo sound.
Prince got away with as much on his 1982 album 1999 as he did on his budget blowing debut from 1978. For one,he managed to convince Warner Bros to release a double album at the price of a single one. Not only that but he filled it with 12 songs that were mostly between 5 and 10 minutes long. This was an approach closer to that of an early 70’s James Brown/JB’s record than a pop directed album of the early 80’s. Yet it showcased the way in which Prince was looking to have his music marketed. And also spoke to a lot of his maverick spirit on that level that would come to full flower a decade later.
My first exposure to 1999 came in…well 1997. I decided to pick up Prince’s first four albums of the 80’s (Purple Rain included) on vinyl. 1999 was the coolest visually because you could see the closeup photo of Prince’s eye spinning on the custom labels spinning while playing the album. That summer my Aunt Deb came to visit us. We began talking about our mutual admiration for Prince. We both agreed 1999 was our favorite album by him. When we discussed our favorite song on the album,she said hers was “Little Red Corvette”. I said mine was the song I’m over viewing today: “Lady Cab Driver”.
A Linn drum beat thumping along with the sound of traffic sounds begins the song,as Prince is heard hailing a cab. After this,the main groove of the song comes in. This features a live funky drum,with Prince playing the rhythmic changes on a equally funky rhythm guitar. When the lead vocals come in,each vocal part features a low toned synth brass part. There are several sections to this song. One features Prince and said cab driver involved in a vocally intense sexual encounter. The other showcases thick slap bass,bursts of rock guitar and squiggly synths before fading out on traffic sounds just as it began.
“Lady Cab Driver” stands very much in contrast to the synth based Minneapolis sound permeating the rest of the 1999 album. Its strong live drum/bass/guitar oriented funk with the MPLS synth brass used as accents only. Conceptually,it seems like a fetish setup at first. Until during the mock sexual encounter,Prince reveals his envy of his brother,his disdain for rich people who don’t know how to give,and so on. I also realize now that the main chorus of the song is also a possible origin of Ready For The World’s Prince ripoff song “Oh,Sheila”. Even today,its still one of this albums most powerful slices of funk.
Filed under 1980's, 1999, drums, Linn Drum, Minneapolis, Minneapolis Sound, Prince, rhythm guitar, rock guitar, slap bass, synth brass, synthesizers
The Time’s story was covered last month extremely well by my newest blogging partner Zach Hoskins. Today is the birthday of Jerome Benton. He has not only been a member of every lineup of The Time (including the Original7even) but was also part of The Family-the protege band of a protege band. The story of The Time itself is complex and intricate. But in 1989,they were planning a comeback with Prince for an album entitled Corporate World. That album was never released. But The Time did actually make that comeback a year later with a reworked version of that album entitled Pandemonium.
Pandemonium, along with its newer songs,contained a number of tunes that had actually been recorded long ago. This kind of goes with Prince’s tendency in the year 1990 of dipping into his vault a great deal. One of these songs was recorded in the spring of 1983 for The Time’s Ice Cream Castles. It originally featured Prince playing all the instruments. But for this album,the song was reworked to feature some instrumental participation from the band members. Happily in any case,it was among the funkiest songs on the album as well. It was called “Chocolate”.
The sound of a car screeching to a halt,along with Morris Day’s trademark scream. Then the drum solo comes in-somewhat similar to The Jacksons “State Of Shock” in tone actually. After the first few beats,the 10 note bass line comes in. The main chorus of the song rushes in after that. This consist of fast paced synth brass interlocking with a similarly paced,deep rhythm guitar. This strips down a bit for the refrains. For sections where Morris Day does some of his comic raps,a thick chicken scratch guitar takes over. Morris and the synth brass all come to their own halt again at the songs conclusion.
“Chocolate” is one of those funk jams where it is clearly out of the school of the synth brass heavy,stripped down funk sound of Prince’s early 80’s jams. Including the musical touches added by people such as guitarist Jesse Johnson,Jimmy Jam and Terry Lewis,the reworked song really brings out how much,in a manner similar to “Housequake”,how much of a modern day James Brown funk sound it all is. In this one,the JB approach is even more overt overall. Still its the funky instrumental personality and The Time’s humor that really bring this song to life.
Filed under 1990s, chicken scratch guitar, drums, Funk Bass, Jam & Lewis, Jerome Benton, Minneapolis, Minneapolis Sound, Morris Day, naked funk, Prince, rhythm guitar, synth brass, The Time