Category Archives: Snoop Dogg

Christmas is 4 Ever: The Bootsy Collins Holiday Album I Can’t Decide If I Like

bootsycollins-christmasis4ever

Of my many musical guilty pleasures, Christmas music is probably my guiltiest. I have a fascination that borders on the morbid for those silly, disposable albums of festive music popular artists tend to release between the months of September and November, to be listened to (if at all) between Thanksgiving and New Year’s. And while I certainly appreciate the classics–Bing, Elvis, Ella, Phil Spector, the Jackson 5–I almost prefer the also-rans: the goofy ones; the seasonal records few bother listening to and even fewer bother remembering.

The following is a review I wrote ten years ago (!) of one of those records: Christmas is 4 Ever by funk bass legend and real-life cartoon character Bootsy Collins. As you’ll see, I liked it a lot at the time. My opinion on it has fluctuated in the years since; these days, it’s pretty much a crapshoot whether I’ll think it’s a goofy good time or an infernal racket. But that’s the risk of pop Christmas music: depending on your mood, it can be as warm and nostalgic as a mug of hot cocoa or as obnoxious as a string of LED lights on the strobe setting. Sometimes, it can even be both at the same time. I haven’t given Christmas is 4 Ever my annual listen yet, but i think I will this week. Who knows, maybe I’ll finally like it as much as I did 10 years ago:

If anything about Christmas is 4 Ever is an unqualified success, it’s that the album is a blast from beginning to end–something that could probably be ascertained from a mere glance at its ludicrous snowglobe cover art and whimsically spelled track listing, with titles like “Jingle Belz,” “Chestnutz,” and “WinterFunkyLand.” Of course, as anyone who’s bothered to investigate his solo career can attest, Bootsy is nothing if not fun; and when it comes to the campy, cartoonish, but oh-so-heavy fun(k) that is his stock in trade, this Christmas effort does not disappoint. Just try to keep a grin off your face when “Boot-a-Claus” turns in a loose, effortlessly funky rendition of “Jingle Bells,” or when the man once dubbed “Player of the Year” (always the sexiest star in the P-Funk constellation) injects some lascivious eyebrow-wiggling into Charles Brown’s “Merry Christmas Baby,” crooning that he’s “about ready to come down your chimney.”

But Bootsy’s addition to the Christmas canon has more going for it than just kitsch appeal. For one thing, like all the best holiday R&B music, his arrangements boast an intuitive, yet unclichéd grasp on the Christmas mood. Boots’ version of Donny Hathaway’s “This Christmas” (here rechristened as “Dis-Christmiss”) manages to conjure up images of snow-frosted windows and toasty firesides while retaining its essential throb and groove; “Silent Night,” while hardly guilty of taking its name literally (how could the Baby Jesus possibly have gotten any sleep with Bootsy slapping his Space Bass all over the other side of the manger?), adds the requisite dose of holiday sentimentality without ever laying it on too thick.

And even when Boots and company aren’t quite capturing the spirit of the season–it’s difficult to imagine the manic jam “Happy Holidaze,” complete with guest appearance by Snoop Dogg, getting much rotation in front of even the funkiest of Christmas trees–Christmas is 4 Ever succeeds in being the best straight-up album Collins has released in years. Not only is the material more consistent than 2002’s B-star studded Play with Bootsy, it just sounds like vintage Bootsy. It has that woozy, anarchic P-Funk clutter of horns, bass, guitars and synths: no doubt due at least in part to the presence of ex-Parliament keyboard legend Bernie Worrell, who rounds out a truly impressive guest list including former J.B.’s leader/trombone player Fred Wesley, ex-Zapp keyboardist Terry “Zapp” Troutman, former Rubber Band members Joel Johnson and Frankie “Kash” Waddy, ex-Funkadelic guitarist Michael Hampton, and soul institution Bobby Womack, as well as Bootsy’s own brother (and funk heavyweight in his own right) Catfish Collins. And if all that wasn’t enough, the songs themselves are littered with self-referential quips: a move typical of latter-day Bootsy, which could have been cloying if it wasn’t so goddamn fun to hear “Bootzilla”‘s indelible “wiiiiiiiiiiiiiiiiiiiiiiind me up!” in its umpteenth incarnation.

Indeed, it may be Christmas is 4 Ever’s firm grounding in Bootsy’s past that makes it such an enjoyable listen, particularly for those who don’t happen to share my perverse love for holiday music. Listen to “Be-With-You” without paying attention to the lyrics and it sounds like exactly what it is: a pitch-perfect remake of the 1976 Rubber Band hit “I’d Rather Be with You,” amped up with Zapp-style Vocodered vocals and just maybe sounding better than ever. But place such autobiographical touches within the context of yuletide nostalgia, and what you have is an album which reflects on holidays past and present even while it serves as a summation of the now 65-year-old (!) Bootsy’s lofty position in popular music history.

Case in point: the legendary funkateer opens “WinterFunkyLand” with “thank you”s to his former mentors James Brown and George Clinton; elsewhere, he dedicates “Chestnutz” (a.k.a. “The Christmas Song”) to the man who made it famous, Nat “King” Cole (also, probably not coincidentally, the first Black man to find a place in mainstream America’s holiday songbook). And that’s where Christmas is 4 Ever really triumphs, both as a Christmas record and as a watermark release for Bootsy himself. With its warmth and sentimentality, the album feels like a stack of season’s greetings addressed to loved ones from years past, inviting us to bask in the glow of friends and family that seems to burn brightest late in the month of December. Granted, that sentiment might come off as a little goopy for some potential listeners–or, you know, pretty much anyone who might be reading this. But if Christmas is about anything, it’s goopiness, and Bootsy has done well to recognize as much.

Besides, what other Christmas album can you name that features a holiday message from reformed pimp/Snoop Dogg “spiritual advisor” Bishop Don “Magic” Juan? I’ll tell you one thing: it sure as hell ain’t Christmas with Perry Como. And that, my friends, is as good a recommendation as any.

Check out Dystopian Dance Party next week for more of my thoughts on recent and vintage Christmas music, including the holiday albums of James Brown and, um, R. Kelly. Happy holidays!

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Filed under Bernie Worrell, Bobby Womack, Bootsy Collins, Christmas music, Donny Hathaway, Fred Wesley, James Brown, Snoop Dogg

Stevie Wonder-Happy Birthday!

Stevie Wonder - Copy

Thus far? 2015 has proven itself to be an important year for Stevie Wonder. He was the beneficiary of an all star Grammy tribute that included the likes of John Legend,Janelle Monae,Jill Scott and India.Arie. In addition he has recorded on two major records this year in-including “Crack In The Pearl Part II” and “Uptown ‘s First Finale” on Mark Ronson’s massively successful album Uptown Special, as well as on the latest collaboration between Snoop Dogg and Pharrell Williams Bush-playing and singing on the opening song “California Roll”

In addition to all this powerful musical activity? It’s been announced that Stevie is planning on releasing two separate albums this year. One is said to be a gospel album and the other a collaboration with David Foster. It’s unknown as to whether these or any other album project from Stevie is actually on the horizon. But one thing that’s been uppermost in my mind,as Stevie Wonder turns 65 today? It’s the prevailing attitude today that,much as James Brown was The Godfather Soul? It would seem that Stevie Wonder is now considered something of a godfather of neo soul.

One excellent example of this is the 1999 song “All That I Can Say”,performed by Mary J. Blige and composed by Lauryn Hill.  The multi layered,jazzy and melodic synthesizers and the easy going percussive rhythm define the songs core. And those are both signatures of Stevie Wonder’s musical approach: utilizing new electronic technology to create brand new structures of sound that could be emotionally felt as well as heard. Of course neo soul in particular hasn’t always come to grips very well with the strong control Stevie has over his idiosyncratic vocal approach. And that soft yet powerful rhythmic fullness only comes into the music on fairly rare occasions.

In the end? It all comes down to a conversation Rique and myself have had over and over again. That the most positive creative flower of Stevie Wonder’s musical influence comes from those inspired by his musical approach, rather than his vocal one. Composing music with the type of jazz phrasings Stevie tends to use broadens songwriting possibilities for contemporary musicians. And his emphasis on modern electronics to create emotional textures of sound is extremely useful as well. Since the past decade or so seems to showcase Stevie’s instrumental and compositional talents rather than merely less than satisfactory imitations of his vocal ones? The man’s influence,at least at present,seems to be in very good hands. Stevie Wonder,happy birthday to ya’!

 

 

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Filed under 1970's, India.Arie, Janelle Monae, Jazz, Jill Scott, Lauryn Hill, Mary J. Blige, Mavis Staples, Neo Soul, Pharrell Willaims, Snoop Dogg, Stevie Wonder

Anatomy Of THE Groove for 5/1/2015: “Peaches ‘N Cream” by Snoop Dogg,Pharrell Williams and Charlie Wilson

A dozen years ago,Snoop Dogg’s career was revitalized by The Neptunes. Half of which is Pharrell Williams,now the modern day Quincy Jones (as producer) himself. This was on the song “Let’s Get Blown”,featuring guest singer “Uncle Charlie” Wilson himself-the original Gapper. Today Pharrell,withdrawn musically from The Neptunes is absolutely on fire as a funky hit making producer/musician in his own right. And having the same effect on Snoop and Charlie yet again on the new song “Peaches ‘N Cream”.

A rigid,insistent beat counts down the full body of the song. The chorus consists of a clean,bubbling mid to higher toned electric bass line backed by a looser and slower 4/4 beat,accented with the ringing percussion on the last bar of the that bass line. The refrain of the song,which showcases Snoop’s melodic singsong rap, adds in a wonderfully Nile Rodgers style rhythm guitar along with a very dreamy style 70’s jazz/funk high electric piano solo wash hugging the guitar like a musical pillow to a blanket.  This dynamic stretches in and out in variations as the melody and rhythm evolve as the song itself fades out.

One of the most fascinating aspects of this song is how musically elastic it is. On that level alone? It treats funk as a genre worthy of great respect and dignity. The main rhythmic thrust of it is very much out of the boogie/post disco late 70’s/early 80’s dance-funk kick that’s defined Pharell’s current productions. Also in classic P-Funk style? The danceable mean beat really concentrates ones attention on the Paulinho Da Costa like ringing percussion and other rhythmic accents. That harmonic element of jazziness that comes from the keyboard playing on this song helps expand out it’s funky elasticity.

The vocal arrangement is fantastic. It seems to melt Snoop,Charlie and perhaps Pharrell himself on a thick vocal chorus of male tenor funkiness. Charlie himself provides his typically thick (and in this case distant) call and response cries in the back round. Snoop Dogg is clearly keeping up with the playing sexuality that’s at the core of his lyricism. Only thing is? I’ve heard him do this so many times before,in exactly the same way. Snoops lyricism goes very much to the core of funk at it’s most lustful end. Just feel he sounds bored here-as if it’s become a bit of a formula. Nonetheless that cannot diminish the musical power and funky serenity this songs instrumental and vocal arrangement provides.

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Filed under 2015, Boogie Funk, Charlie Wilson, dance funk, Funk, Funk Bass, Jazz-Funk, Nile Rodgers, P-Funk, Pharrell Willaims, post disco, Quincy Jones, Snoop Dogg, The Neptunes