Category Archives: scratching

Grooves On Wax: 1988 Albums,1987 12″ Inch Singles

Siedda Garret

She was the songwriter who bought us Michael Jackson’s “Man In The Mirror”,and was also his duet partner on “I Just Can’t Stop Loving You”. One year after all this,Siedah Garrett released her very first solo album. It featured the majority of Quincy Jones’ Westlake studio crew on board. Along with one heavily re-worked Thriller era Rod Temperton  composed MJ outtake “Got The Hots” on the ultra funkified “Baby’s Got It Bad”.

Key Jams: “Kiss Of Life”,”Groove Of Midnight”,”The Legend Of Ruby Diamond” and “Baby’s Got It Bad”

Brown Mark

The reason this didn’t wind up listed with the Prince alumni article I did was because this album has nothing at all to do with Prince,or Paisley Park. Former Revolution guitarist Mark Brown (rechristened Brownmark by Prince) released this album for Motown. As with Prince,Brown plays most of the instruments. His approach as a multi instrumentalist is closer to the harder kick of a Teddy Riley, however. And this is not an album that compromises on the funky uptempo material at all.

Key Jams: “Next Time”,”She Don’t Care” and “Stakeout”

Clyde Criner

Clyde Criner is a fairly obscure figure. The reason I picked up this album was because of how much it flaunted its personnel. Mainly MY MAIN BASS MAN Marcus Miller. His slap bass soloing is all over this album,right along with Criner’s melodic block chords on different electric pianos and synthesizers. This album is a potent combination of synth funk and electronic jazz fusion licks.

Key Jams: “Just Might Be That Way”,”Spider” and “Kinesis”

Henrique and myself have a constant conversational theme about how 1987 in particular showcased a time period where heavier funk again became the main basis for dance oriented pop records of the era. And that year was a MAJOR year for 12″ mixes. I don’t have a all of them yet. But this was the first year that brand new music really made a significant impact on me at 6-7 years old. So its a good place to speak for early firsthand experience.

It was Henrique who turned me onto Barry White’s 1987 comeback single “Sho You Right”. This song mixes the synthesized Freestyle dance sound of that era with the strong Latin samba funk attitude White used to get with his Love Unlimited Orchestra. This 8+ minute extended 12″ mix really brings out the sauntering rhythm of it all by emphasizing the drums. The instrumental B-side focuses on the Santana-like Latin rock guitar solo.

The history behind the Alexander O’Neal song “Fake” is amazing in Minneapolis funk circles. It was written by AND for alumni’s of The Time. Jam & Lewis really bumped out the percussive,bass heavy funk for this number. The best part of these 12″ inch mixes is how they thoroughly explore the song. You’ve got an extended mix,a vocal remix-the “patty mix”,an a cappella mix featuring O’Neal,percussion and light synths only PLUS an instrumental with an amazing electric piano walk down. Amazing exploration of the groove and therefore one of the strongest 12″ inch funk singles I’ve heard this far.

Ray Parker Jr. is one of the most underrated guitarist/multi instrumentalists I know of. After a string of funky pop hits in the early 80’s as a solo artist,Parker emerged in 1987 with the single “I Don’t Think That Man Should Sleep Alone”. That,along with the guitar solo oriented instrumental “After Midnight” (title song of his album that year) showcase the urban contemporary jazzy funk side of his nature from his earlier session work with Herbie Hancock and Rufus. This 12″ mix of the song really showcases that.

Lisa Lisa And Cult Jam really brought the new jack swing pioneers Full Force into the limelight. Their Latin freestyle/dance club hits of the late 80’s were not only ultra catchy,but ultra funky as well. with Full Force being there to re-cut and remix  their hits “Head To Toe” and “You’ll Never Change” showcased just how deeply these songs grooves.

M/A/R/R/S’s “Pump Up The Volume” was my first exposure to both House music and sampling,though I didn’t know what either were at the time of hearing it. This is an awesomely funky house/scratch/hip-hop number out of the UK. When I heard the Bar Kays “Holy Ghost” a decade or so later,it created a flashback to the “put the needle on the record” segment of this song. Another group member AR Kane provided the B-side “Anitina”,a brittle,Bill Laswell like funk rocker that I always enjoyed.  Wanted to say a quick RIP to M/A/R/S member Steve Young,who passed away last month.

 

 

 

 

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Filed under 12 inch singles, 1987, 1988, Alexander O'Neal, Barry White, Brownmark, Clyde Criner, Full Force, House Music, Jam & Lewis, Latin Freestyle, Lisa Lisa And Cult Jam, M/A/R/R/S, Marcus Miller, Pump Up The Volume, Ray Parker Jr., Sampling, scratching, Siadah Garrett, Vinyl

Anatomy of THE Groove: “Say It Loud,I’m Black And I’m Proud” by Chuck D and Kyle ICE Jason

Carlton Douglas Ridenhour,better known as Public Enemy’s main emcee Chuck D,has long been part of my collective consciousness. Suppose it started when a friend my father’s came him his cassette copy of PE’s It Takes A Nation Of Millions To Hold Us Back. It wasn’t something I was encouraged to listen to at 9 years old. But a little over a decade later,I checked it out on CD myself. And onward through my conversations with this blogs co-founder and friend Henrique Hopkins,Public Enemy/Chuck D have been a consistent conversational fixture in terms of hip-hop keeping the funk alive and kicking.

During Public Enemy’s nearly 30 years of existence,Chuck D has only recorded two proper solo albums. He’s preferred to focus his energies as an individual on activism and public lecturing about important matters effecting the black American community. So its been good to have PE be his chief musical focus for that message,while he does more physical work through his political activism. Having based his entire musical career on his deep love of James Brown’s funk in particular,its more than fitting that one of the songs on his second solo album The Black In Man from 2014 is a version of JB’s “Say It Loud”.

For the most part,the song is built on Chuck’s live band playing the song very close to the way James Brown and the JB’s had done it. The drums and horns start out the song before the bass/guitar interaction comes in. The chicken scratch guitar on this version is not mixed quite as high as Jimmy Nolan’s was on the original. But the round bass line is left almost completely intact. Chuck adds some more rap style vocal accents and meter to his vocal. On the bridge however,some heavy scratching changes over to Kyle Jason’s conscious rap that goes right with the theme of the song before it comes to an abrupt stop.

One of the themes of Chuck D’s music throughout his career has been the kind of thematic power different songs can have. He has often stated this about his critiques on hip-hop-that while some of the more commercially successfully music of the genre has importance as aural escapism,its vital that the potential for hip-hop to transmit positive messages of self improvement to black America needs to be better realized. In doing “Say It Loud”,Chuck brings out that the original song actually WAS hip-hop along with that message-with it’s rhythmically rapped lyrics and message. So it works on both levels.

 

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Filed under 2014, black power, chicken scratch guitar, Chuck D, conscious rap, drums, Funk Bass, hip-hop funk, horns, James Brown, Kyle Jason, Public Enemy, rap, scratching

Anatomy of THE Groove: “Dance On” by Prince

Prince was facing some important musical milestones in 1988. It would be the decade anniversary of recording career at Warner Bros. And consequently this year would see the release of his tenth studio album entitled Lovesexy. The album would be most famous for it’s cover art. Intended to express the albums concept of spiritual conflicts between good and evil,it would up prompting many record stores of the day to censor the album. Since Prince saw it’s nine songs as a full length statement,most CD copies of it were created with all the selections on one 45 minute track-rather than separated as with most CD’s.

It was only with the advent of computer CD burning technology that  people were able to hear these as individual songs outside their original context. Taken in that way,this record has that far reaching funk/pop/jazz/rock fusion that defined Prince mid/late 80’s music. And many of it’s songs are very dense and full sounding instrumentally. There is one song on this that really stands out for me personally. And it has to do with the fact that it takes his live instrumental sound of the time with his earlier production approach. The name of this song is called “Dance On”.

Sheila E begins the song-shaking the percussion like a rattle snake after which Prince calls out “OW!! PICK IT UP!!!” before Cat calls back “there’s a bass guitar in this” as Sheila throws down one of her powerful Brazilian style jazz/funk drum/timbale beats that provides the rhythm for the entire song. The refrains of the song showcase rhythmic scratch samples and Prince thundering the bass like a runaway freight train. On the chorus of the song, Prince sings with Bonnie Boyer in his falsetto voice while she provides some gospel hued accents on her Hammond organ.

Musically this song comes at you with a tremendously powerful groove. It’s stripped down instrumentally. But Sheila E’s drums are mixed up super high. And the bass line brings out how much Prince’s style on the instrument is based on his guitar playing-with it’s thundering,hard rocking power. Prince brings the guitar in on the later refrains of the song-using the metallic,electric thump of it almost like a police siren. While the refrains express a frightened,foreboding chase scene the choruses express straight up gospel joy. And therefore captures the classic spirit of the soul/funk genre.

The rhythmic instrumental approach of the song is ideal for the lyrical content. Thematically,this song balances the socially conscious vibe of “Sign O The Times” with the determination for joy in a time of crisis to be found on “1999”.  What makes this song for me is that Prince integrates a strong musical observation. Throughout the song,he evokes how the gang violence and loss of hope he sings about was draining away an interest in musical creativity during the 1980’s-even declaring “a bass guitar in spider webs looking for the funk”. So musically and lyrically,this is a bold declaration for funk in it’s time.

 

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Filed under 1980's, Afro-Cuban rhythm, Bonnie Boyer, drums, Funk Bass, funk rock, message songs, Minneapolis, Minneapolis Sound, organ, Prince, rock guitar, scratching, Sheila E., Uncategorized