Category Archives: synthesizers

Tales Of Kidd Funkadelic@40: P-Funk Taking It To The People

tales-of-kidd-funkadelic

Funkadelic not only represented P-Funk’s rockiest side. They also represented their link to the late 60’s psychedelic scene from which it all began for George Clinton and company. Beginning as the backing band for The Parliaments before they shortened their name,Clinton revived the Parliament name in 1974-pursuing a more horn funk style under that name. In a couple of short years,a P-Funk formula of sorts began to emerge as the musicians within it exercised their most distinctive instrumental traits-especially Bootsy Collins and Bernie Worrell. 1976 was the key year for all of this to happen.

Tales of Kidd Funkadelic turned 40 just under a month ago. For me,it represents that transition from Funkadelic representing psychedelia and (as some P-Funk admirers have stated) becoming “Parliament without the horns”. Personally,the summer of 1996 was a time when I was going to Borders Books & Music in Bangor,Maine to purchase the then 2-3 year old Funkadelic CD reissues. I remember picking this particular one up while spending a weekend with my grandparents. It was with a warning I’d in a music guide that Tales Of Kidd Funkadelic was the bands least conceptually unified record.

Today,its to my understanding that the album was made up of material recorded at the same time as Funkadelic’s Capital records debut Hardcore Jollies. But Clinton was contractually obligated to Westbound to deliver them one more album. So lyrically,the songs didn’t follow a concept. What the Westbound label did do was give each side of the original vinyl a certain sense of musical unity. On a personal level,its probably the Funkadelic album I’ve returned to more over the years. And perhaps its the way its assembled that draws me to it so much.

“Butt-to-Butt Resuscitation” and “Let’s Take It To The People” could both be described as heavy funk/rock hybrids. At the same time,the emphasis is still on the stronger rhythmic complexity Funkadelic were developing. “Undisco Kidd” stuck out instantly because,from the bass to the vocal rap,it drips of Bootsy’s musical personality. It actually reminds me of something from Parliament’s Mothership Connection-especially with Worrell’s orchestral synth. “Take Your Dead Ass Home” is a thick bass/guitar built number with a really humorous take on 3rd and 4th base making out.

The second half of the album is another matter entirely. “I’m Never Gonna Tell It” is a P-Funk style mid tempo soul ballad-later re-done by Phillipe Wynn after he joined P-Funk. The title song of the album is a 12+ magnum opus centered on Bernie Worrell’s classically inclined jazz/funk cinematically orchestrated melodies. “How Do Yeaw View You” is actually one of my favorite songs on this album. Its a very rhetorically reflective song that has a slight reggae funk overtone. That essentially rounds this part of the album as being its “slower side”.

From the first song to the eighth, Tales Of Kidd Funkadelic stands to me as a model for funk albums released to fulfill a contract. Clinton offered Westbound songs that were not only solid and complete. But in my opinion,they were also funk jams that held together in terms of the sheer quality of song. If any of these songs had been singled out to lead off a fully conceptualized P-Funk album,they’d probably have all been amazing. As it is,its hard to hear that these songs are outtakes. So on its 40th anniversary,the most important thing to say about this album is that represented P-Funk’s major transition in the 70’s.

 

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Filed under 1976, Bernie Worrell, Bootsy Collins, classic albums, classic funk, Funk Bass, funk rock, Funkadelic, George Clinton, P-Funk, synthesizers, Tales Of Kidd Funkadelic

Anatomy of THE Groove For The Brothers & Sisters Who Aren’t Here: “Moonwalk” by Larry Young’s Fuel

Larry Young is a jazz organist who I didn’t know anything about until meeting Henrique a decade ago. He introduced me to his 1975 album Fuel when discussing the many acoustic jazz artists doing different tributaries of funk.  Young came to prominence during the early 1960’s. In terms of innovation,he did with the Hammond B-3 organ for modal jazz what Jimmy Smith did for the hard pop and soul jazz sub genres. He worked with many jazz greats from that era including Lou Donaldson,Elvin Jones and Hank Mobley. He also became one of the architects of fusion as a member of Tony William’s Lifetime.

In the final few years of his life,Larry Young formed his own fusion group called Fuel-titled after his 1975 album. These group leaned heavily towards the funky end of the genre. Because Young died mysteriously in 1978 at the age of 37,this project was sadly cut short with only two albums released. One of them was an album entitled Spaceball,released in 1976. I just learned about this album writing this. And wound up exploring many of its songs on YouTube.  It was the opener of this album that made the strongest impact on me in terms of funkiness. Its entitled “Moonwalk”.

Jim Allington’s fast paced Brazilian drum swing opens the album. Shortly thereafter,Dave Eubanks three on four note bass line kicks in. This represents the entire rhythm body of the song. As for the melodies of the song,there are many provided from Larry Young himself. There’s a high and low pitched sustained organ roll playing call and response with itself. He also adds in some spacey electronic synthesizers almost as percussion accents-in particular towards the last minute or so of the song. On the bridge,Larry Coryell plays a rolling guitar solo before a final refrain closes the entire song out.

“Moonwalk” is a really amazing jam. Its basis is thoroughly Brazilian funk. On the other hand,the harmonic complication of the soloing is almost beyond belief. The female backup singings “doo doo wopp”-ing throughout the early parts of the song adds a certain verbal encouragement to the entire musical movement. With the sometimes atonal electronics, this has some of the spacey,ethereal free jazz elements of people such as Sun Ra’s Arkestra mixed into the otherwise funky grooves. It really shows just what an innovative jazz musician could do in terms of soloing with a strong funk rhythm accompanying them.

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Filed under 1976, Brazilian Jazz, Dave Eubanks, drums, Funk Bass, Hammond B-3, Jazz, jazz funk, jazz guitar, Jim Allington, Larry Coryell, Larry Young, organ, synthesizers

Prince 1958-2016: “If I Was Your Girlfriend” (1987)

Prince was an artist whose musical conceptualization helped me personally to view sexuality as an act of love,rather than as a profane taboo. Considering his classic soul music struggle between spiritual and carnal pleasures,that may be hard for some people to believe. But as far as that aspect of Prince’s talent,it really began to reach its peak in the mid/late 80’s. A period that I feel represents Prince’s creative peak as a musician. Prince was also on the cusp of becoming a 30 something during this period as well. This represented another stage in Prince’s emotional maturity.

Sign O The Times was the Prince album that illustrated this stage of his maturity most fully. Because of the time frame in which I heard it,the 1987 album reminds me of a long period during the 90’s that wasn’t paying attention to Prince’s new music. There is one memory from a rainy afternoon in 1994 when I was driving home with my parents from Strawberries Records. They had the radio on and this Prince song came on with a very deep and strange sound at the beginning. They shut it off before I knew what it was. When I finally heard Sign O The Times,I realized that song was “If I Was Your Girlfriend”.

That “strange sound” I mentioned begins the song over a three note LINN drum hit. Actually sounds like revving an amp’d up electric guitar at its very lowest notes. Then a thick slap bass pop breaks into the refrain of the song. Its a very slow beat accompanied by a trumpet like synth brass solo while foreboding layers of synth strings play along in the back round. On the refrains,Prince sings in a sped up falsetto along with mainly the drum and bass line of the song. Toward the end of the song,the bass line gets somewhat more intricate as Prince raps frantically with some operatic orchestration before the song stops.

Its taken me too long to realize that this is one of Prince true funk classics. The slap bass pretty much carries the entire song-one that TLC would also cover around the first time I first hear…well the intro anyway. Lyrically,this song finds Prince exploring a sexual double standard. His asking a lover if she’d undress in front of him if they were anything but lovers. Even saying by the end “we don’t have to make babies to make love/we don’t have to make love to have an orgasm”. Prince taking on romantic insecurity in this funky musical way was a major step in his evolution as a human being.

 

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Filed under 'Sign 'O The Times', 1987, Funk, guitar, Linn Drum, Minneapolis, Minneapolis Sound, Prince, sexual revolution, slap bass, synth brass, synthesizers

Anatomy of THE Groove: “Junie” by Solange

Solange Knowles turned 30 this year. The period since her last release in the EP True and today has been a long and significant one. In 2013,she moved to New Orleans with her then 8 year old son Daniel. The Crescent City has long been known as a spiritual home for black American culture-starting with the birth of jazz in the city over a century and a half ago.  A year later,she re-married music video directer Alan Furguson while living there. Considering she views her sister (and frequent public comparison) Beyonce as a prime role model for her,its no surprise she is taking a similar outlook on America today.

The America that Solange has been looking at the last couple of years has been an all out yet not officially spoken assault on African American’s. Its seen the birth of the Black Lives Matter movement. As well as an accompanying upsurge in understanding how how truly bigoted the fundamentals of America are-in no small thanks to the internet’s vast library of historical knowledge. Police brutality is at an all time high. And the black community has had a wide range of reactions. Some have even chosen to deny their heritage and defend a police force they know to be in the wrong.

Musically the consequences have been unusual. Even the usually topical genre of hip-hop,let along soul,have avoided message songs to a big degree. Instead favoring variants of the modern trap sound. Solange,along with her sister’s song “Formation” have elected to address this more. For her own part,Solange addressed it with a brand new album (now available as a digital file only) entitled A Seat At The Table. Its definitely a return to the album based format of the 1970’s conceptually. But if there were only one standout song I had to pick as a favorite from it,it would be the song “Junie”.

The song begins with a six note bass line with a hard cymbal kick over which Solange improvises along vocally. Then the drums kick into a heavy snare/hi hat rhythm. Within the framework,a higher and lower pitch brittle space funk synthesizer play call and response within the refrain along with Solange’s rhythmic singing. On the choruses,a think three note piano walk down is added to the synthesizer parts-which become melodically brighter and more insistent. The song reduces down to a synthesizer bleep/drum duet before stopping on yet another repeat of the chorus.

It was Henrique who suspected,and made it official based on Solange’s own tweet, that this song was indeed named for and inspired by Walter “Junie” Morrison,synthesizer innovator of first the Ohio Player and then P-Funk. That makes perfect sense with the use of the gospel/soul piano and spacey synthesizer lines that would be the classic Junie mix of sound. While its played a lot straighter here than on P-Funk’s more flamboyant instrumental style by Mister John Kirby,it goes perfectly with the stripped down musical composition written by Raaphael Saadiq.

Lyrically,OutKast’s Andre “3000” Benjamin provided two areas of insights in the song. Most of it is very much in the dance hall of much Jamaican inspired contemporary dance/R&B. One where words are stuttered rhythmically to generate an impulse.  Towards the end of the song,the lyrics are more overt. “Don’t want to do the dishes/just want to eat the food” is one such lyric. As does its accompanying album,it finds Solange, Andre, Raaphael and John sending out a vital message that,when it comes to racial justice and music itself,heavy creative inspiration and work is the only effective way to go.

 

 

 

 

 

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Filed under 2016, A Seat At The Table, Andre 3000, drums, Funk Bass, John Kirby, message songs, naked funk, new music, piano, Raaphael Saadiq, space funk, synthesizers, Walter Junie Morrison

Anatomy of THE Groove: “Can’t Save Tomorrow” by Ronnie Laws

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.

 

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Filed under 1980's, drums, jazz funk, Larry Dunn, Leon Johnson, rhythm guitar, Roland Bautista, Ronnie Laws, Saxophone, slap bass, synth funk, synthesizers

Anatomy of THE Groove: “In Spiritual Love” by Jean-Luc Ponty

Jean-Luc Ponty is an artist who probably most represents my adult focus on jazz fusion/funk. A virtuosic violinist from Avranches,France Ponty was born into a family of classically trained musicians.  While graduating fairly young from the  Conservatoire National Supérieur de Musique de Paris with their highest honor,he began listening to Miles Davis and John Coltrane while playing with one of the countries major symphony orchestra’s  Concerts Lamoureux. Ponty became known by the end of the 60’s as being a premier example of “jazz fiddle”.

The jazz community at the time had similar doubts as to the violin’s viability in jazz as they had when Rufus Harley introduced bagpipe into the genre. But with his mixture of be-bop phrasings and European classical movements,Ponty became part of the link between jazz fusion and what would become the new age music genre. He released his first solo album at the age of 22 in 1964’s Jazz Long Playing. He played with key members of the modern jazz movement until Frank Zappa wrote songs for his 1969 album King Kong.  He emigrated with his family to America when asked to join Zappa’s Mothers Of Invention.

Ponty participated in the first two Mahavishnu Orchestra albums in the early 70’s as well,before restarting his solo career in 1975. By the early 80’s,he’d toured the world and recorded more than a handful of premier jazz/rock fusion albums. In 1983 he released his 15th studio album Individual Choice. The title song was given one of the first jazz music videos. He also re-ignited his collaboration with the late George Duke. He and Duke recorded a collaborative album together in 1969. And he was the chief composer of my favorite song on Ponty’s 1983 release entitled “In Spiritual Love”.

The main body of this song entirely surrounds the rhythm. Its a funky R&B shuffle done up on a brittle drum machine-surrounded by multiple synthesizer parts. One is a jangling guitar like one,the other is a bluesy bass line while a low and high orchestral one accent both. The melody begins with Ponty plucking the main melody,than playing the last part out on his violin. The song also contains two separate instrumental solos. The first is a classic Minimoog solo from George Duke. The second one is is a full violin solo from Ponty before the song fades back out on its main theme.

Over the last decade or more,I’ve heard most of Jean-Luc Ponty’s 70’s and 80’s studio albums. And enjoyed them strongly based on their album oriented context and impeccable playing. Yet of all the individual songs he’s done,”In Spiritual Love” is one of a handful that stand out strong on its own. The solos are strongly based on Ponty and Duke’s keen understanding of harmonic virtuosity and an inviting sense of melody. But the rhythmic base of the entire song is,outside its electronic presentation,a very funky rhythm & blues shuffle. So this really puts Ponty’s entire musical focus into excellent perspective.

 

 

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Filed under 1980's, France, George Duke, jazz fusion, jazz violin, Jean-Luc Ponty, Minimoog, rhythm & blues, synth bass, synthesizers

Songs In the Key Of Life@40: Stevie Wonder Living In A Future Paradise

songs-in-the-key-of-life

An artists musical focus isn’t required to match up to their lyrical concepts. And vice versa. Yet when those two creative aspects come together,especially in the hands of a great musical talent,the results can often defy description. One such case is Stevie Wonder. He had matched musical and lyrical concepts beautifully through singles during the 60’s. In the early 70’s,he crossed this ethic into the age of the album. His 1976 release Songs In The Key of Life is the finest example of how Stevie Wonder was innovating AOF-a term I’m coining for album oriented funk.

Songs In The Key of Life was his most long winded productions up to this point. It took him 2 1/2 years to complete this album. With a list of musicians that would take up several paragraphs and his fascination with Yamaha’s polyphonic duel keyboards instrument the GX-1,Stevie Wonder and the group of musicians who recorded this put a lot of blood,sweat and joyful tears into the album. It was likely intended as a triple album set. But was whittled down to a double album plus an EP 45 packed into it. Until this time,the only genre of music  that was really give this lavish presentation was progressive rock.

It was actually the first Stevie Wonder album (not counting radio hits) I’d ever heard. Though only part of it at first. On a dark,balmy night sometime in 1989-90 my mom was at our summer camp washing dishes. We had an old silver Emerson turntable/ cassette/ radio/8-Track player to listen to music on out there. My mom had ordered SITKOL on 8-Track from Columbia House Music Club. It was a double tape set,but she’d given one half of it to her friend Billy Ray while still living in NYC.  It was several years later that I finally heard the entire album on vinyl from my mom and dads record collection.

Songs In The Key Of Life is one of a handful of albums that provided the blueprint to how I listen to music up to this very day. It had some amazing and funky hits such as “Sir Duke” and “I Wish”. On the other hand,being conceived as a powerful album statement with zero filler material,its an album that contains some songs that are just very special to millions the world over. If asked to mull it over,each of them probably can make a list of those special songs from this album to them. Today,I offer you my own journey through the songs of Wonder’s keys of life that had a profound effect on my own life.


“Have A Talk With God”-I am not a religious man. But the way Stevie Wonder talks about the positive effects prayer and faith have on him makes a deep impact. With its space funk synthesizers,bluesy melody and slow dragging vocals it offers up god as “the only free psychiatrist”-contrasting with the 12 bar blues form’s typical association with secular humanism.

“Pastime Paradise”-This might very well be the most expansive song instrumentally and lyrically to come out of the mid 70’s. The Arabic style melody,Afro Latin percussion,synthesized orchestration and Hare Krishna bells/chants make for an early example of what would one day become world/pop fusion. Which makes sense since the song talks about people with a progressive emotional understanding versus those with a more conservative one. And its place in post hip-hop history is assured  through Coolio’s 1994 remake “Gangsta Paradise”

“Summer Soft”-Stevie Wonder is an artist who is defined by melodic modulation. This song provides a beautiful tone poem in that regard. He discusses the advantages of the season with a wistful mid tempo ballad sung in falsetto. Then he talks about the seasons being gone in his powerful low voice over a powerful,uptempo gospel/funk revelry.

“Ordinary Pain”-Another fine example of modulation. It starts out with a slow ballad about dealing with the ordinary and apparently “necessary pain” coming from the end of a romance. This is a common thread in Wonder’s romantic songs. This song comes to an end,then returns as a hard core,Moog bass driven funk song from a female perspective sung by Wonderlove’s Shirley Brewer.

“I Wish”-With its bouncing Fender Rhodes piano,ARP synthesizer,bass line along with the hot horn charts,this nostalgia based piece of funk is one of Stevie Wonder’s most enduring hit songs.

“Black Man”-Seeing before my eyes the way this song was layered in recording studio on the relatively rare Classic Albums Series DVD documentary on the making of this album only enhanced my appreciation of this brilliant funk opus. The mix of brittle space funk synthesizer layers with equally brittle,electric horns make this history lesson on the many races of people who built America (with a strong black focus) one of Wonder’s finest pieces of funky music.

” Ngiculela-Es Una Historia-I Am Singing”-On this song,Wonder presents an Afro Latin type of tango done in his electronically orchestrated style. In the languages of Zulu,Spanish and English he sings of true love coming from the heart. Likely relating to individual romance and love of humanity as well.

“As”-This song is one of Stevie Wonder’s masterpieces on the Fender Rhodes electric piano alone. Essentially a mid tempo jazz-funk ballad,it was interpreted by many key figures in that genre during the late 70’s. One can see why as its among Wonder’s most melodically challenging songs ever. Even though I’ve later read commentary that the lyrics of this song were lazily written,its clear that few can have the same high level of emotional expression in their love songs than Stevie Wonder does on such occasions as this.

“All Day Sucker”-This is a hardcore funk jam taken from the EP that came with this album. Using brittle synthesizer accents to accompany the scaling vocal modulations of the song itself,this is one of a handful of fine slices of the funky pie that Stevie Wonder serves up throughout the double album in general.


One thing about Stevie Wonder and this album is that,along with the Motown Monday radio marathons the local oldies radio stations used to have,is that it kind of gave the preteen Andre the impression of Motown as being almost like a fairy tale kingdom. One that omitted sounds and melodies unlike any other. After learning the reality of the hard work and talents that really went into all of it,I did hear of Richard Pryor’s comedy monologue on 1983’s Motown 25 that indeed viewed the label and its artists as being like Detroit’s knights of the sound table.

Songs In The Key Of Life has a sound that could seem magical to the musically unknowing. And even with knowledge,the magic created ON it never truly goes away. The writer John Hamilton is currently tracing the racial double standard of 20th century pop musically. Namely how veteran (generally white) rock artists are seen as aging with grace while black soul/funk artists are generally placed mainly in the context of the past. On Songs In The Key Of Life,Stevie is not only looking towards the future conceptually. But successfully paved the way for it on a musical level as well.

 

 

 

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Filed under 'Songs In The Key Of Life', 1976, Afro-Futurism, ARP synthesizer, classic albums, Fender Rhodes, Funk, Gospel, message songs, Motown, progressive music, Stevie Wonder, synthesizers, Yamaha GX-1

Anatomy of THE Groove Special Presentation: “The Mood” by Kashif

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.

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Filed under 1980's, Afro-Cuban rhythm, Boogie Funk, drums, electric sitar, jazz funk, rhythm guitar, synthesizers, vocalese, vocoder

Anatomy of THE Groove: “Where Did Your Heart Go?” by Was (Not Was)

Was (N0t Was) were a passion shared between my father and I during the late 90’s/early 2000’s. Detroit natives David Weiss and Don Ferguson (who changed their professional names to “Was”) were childhood friends from the suburbs. Due in part to Don’s impoverished life at the time,they duo came together to form Was (Not Was) in 1979. The pair composed the music and wrote the lyrics,while two vocalists in Sir Harry Bowens and “Sweet Pea” Atkinson rounded out the quartet. Was (Not Was) became one of the most important and unique musical collectives of the 80’s and early 90’s.

Don Was would become a well known producer for artists such as Bonnie Raitt,Stevie Nicks,Carly Simon,Ziggy Marley,Bob Dylan and Hootie & The Blowfish. His own band on the other hand specialized in a funky stew of music that often placed guest singers in unexpected musical settings. As for Sweet Pea Atkinson,he seems to be a bit of a mystery man. But its his birthday today. And vocally speaking,he’s one of my personal favorite aspects of Was (Not Was)’s sound. One of his highlights with the group came via their self titled 1981 album. It was entitled “Where Did You Your Heart Go?”.

Sweet Pea opens the song singing the lead chorus of the song as a swinging drum brush plays through in the back round along with Johnny Allen’s string arrangements and a counter melody by sax player David McMurray. The jazzy funk bass lines of Jervonny Collier kind of create the main body of the song from this point onward. All led into by McMurray’s sax and a slow crawling drum/percussion based groove. Between the refrain to chorus transitions,a high brittle melodic synthesizer and a string synth with more polyphony play a lead role. After another sax solo,the chorus brings the song to its end.

One thing my father and I both agreed on listening to this album was the strength of this song. Sweet Pea Atkinson’s strong,rangy and idiosyncratic vocal inflections are part of what carries it. Even more so,Don and David actually crafted this song specifically to his style-fashioning a sophistifunk number with the melodic modulations of an mid 20th century American pop standard. As Henrique Hopkins recently pointed out to me,Wham! covered the song in 1986. And hi Henrique’s case,that’s what he thought was the original version. Shows you how melodically strong funk/soul songwriting always finds its place.

 

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Filed under 1980's, David McMurray, David Was, Don Was, drums, Funk Bass, Jervonny Callier, Johnny Allen, percussion, Saxophone, string synthesizer, Sweet Pea Atkinson, synthesizers, Was (Not Was)

Anatomy of THE Groove: “It’s All In Your Hands” by Nile Rodgers

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.

 

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Filed under 1980's, Chic, dance funk, drum breaks, drum machine, hip-hop funk, Nile Rodgers, rhythm guitar, synth bass, synthesizers