Charles Bradley-1948 to 2017: Losing A 21st Century Soul Man

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Charles Bradley’s cancer was made aware to me by my friend Henrique Hopkins about a year ago. That was a time I now refer to with weariness as the “funkpocalypse”. So many classic musical icons, both in and out of the soul/funk spectrum, were passing away faster than many could count it seemed. Again as Henrique pointed out recently, that was an unprecedented event. Bradley’s passing today reflects how the foreknowledge of his passing has provided the necessary time to reflect on where he fit into the contemporary soul/funk/R&B world.

Six years ago, a documentary film on the man was released entitled Charles Bradley:  Soul Of America. Its one I haven’t seen. But there was a lot I already knew about him. He was raised by his grandmother in Gainesville, Florida. His mother had abandoned him as an infant. But by age eight, she took him back to live with her in Brooklyn, New York. Witnessing a James Brown show with his sister at the Apollo in 1962, Bradley became fascinated with perfecting JB’s vocal style and image at home. At 14, he ran away from home to escape the poverty of his life. For a time, he was essentially homeless.

After enlisting in the Job Corps, he ended up in Bar Harbor, Maine. He trained to be a chef there. He worked in that position for ten years. During this time, he overcame his stage fright. Mainly at the encouragement of co workers. He performed nights with a local band-who eventually got drafted into Vietnam. He then left Maine to travel out west. Eventually living in different areas of country. And performing small shows between odd jobs until 1996. At that time, he began working as a James Brown impersonator under the name of Black Velvet

This all occurred amidst trying to re-connect with his mother, almost dying after an allergic reaction to penicillin. Plus dealing with the murder of his brother. Finally in 2011, he became part of the Daptone label’s revival of late 60’s style soul & funk. And this is where my own saga with Bradley begins. I remember purchasing his first album No Time For Dreaming  at Borders Books & Music-right as they were liquidating. I purchased his third album Changes during the time of finding out about his cancer diagnosis. In musical terms. I somehow still associate Charles Bradley with new beginnings.

Having been a predominantly Latino/African American man growing up in 80’s and 90’s Maine, its very compelling to me to think of a man who looked and sang so much like funk innovator James Brown being a chef in Bar Harbor. Although a port city in Maine with a good level of diversity, I am today very aware of the states less then 1% African American population. To think of a man like Charles Bradley first realizing his calling in Maine during the 1960’s is simply amazes me. Through all the man went through, he not only survived but thrived. And emerged as an artist fully funkified. He WILL be missed.

 

 

 

 

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Get It Together@44: The Jackson 5 Get A Brand New Thing

The Jackson 5 arrived at an important crossroads in 1973. Their recording career at Motown began with a string of four record breaking #1 pop and R&B hits for this literal band of brothers during 1969-1970. And the success continued fairly well over the next couple of years-with songs such as “Never Can Say Goodbye”,”Sugar Daddy” and “Little Bitty Pretty One”. By 1973, the youth appeal of the Jackson’s faded fast. These were now teenagers and young adults-with Tito Jackson already married and Jermaine engaged to be so. Was there a way for the Jackson’s to maintain their career in another way?

The mid 70’s arrived with changes to the music scene as well. The 2-3 minute,melodic and uptempo soul singles Motown had helped pioneer were giving way to a new sound. A cinematic,orchestrated sound with harder, funkier rhythms. The incoming funk era was based more on instrumentation than vocal groups singing refrain/chorus based songs. The Temptations had already taken this into account in the late 70’s-changing the base of their music to a more abstract “psychedelic soul” sound with the help of producer Norman Whitfield. Now it was time for the Jackson 5 to come of age.

The first Jackson 5 album of 1973 was Skywriter, a more musically diverse album that tried to offer more to the changing voice of 14 year old Michael Jackson. But the idea of a teenager singing so seriously about seduction on a cover of the Supremes song “Touch” went against the Jackson’s wholesome,youthful appeal. And (to me) wonderful songs such as the bluesy “The Boogie Man” and the more progressive funk/soul of the title song didn’t allow the album much success. It wouldn’t be until September 21st of that year that a change began to happen. Here’s what I wrote four years ago about it.


1973 was spelling out to be the year that would sink the Jackson 5’s thus far unbeatable luster at Motown. Skywriter and Michael’s solo album Music & Me had both been creative triumphs but huge creative failures. The brothers would all come to blame this on the fact that Motown was not welcoming their own input as songwriters and producers. In short,the Jackson’s were faltering because the realities of a music industry where artists were treated as commodities to be bought and sold had taken part of their innocence away.

Yet as the year progressed,Motown was suddenly no longer the mainstay of the pop/R&B scene anymore. The success from the O’Jays and Harold Melvin & The Blue Notes had made Gamble & Huff’s Philadelphia International Records the main focus on that level all of a sudden. And this began to fascinate the Jackson’s and their creative team to an enormous degree.

Inspired by this,the Jackson’s elected to musically refocus some so it seems. And one day in the summer of 1995,I managed to find someone to locate the then extremely hard to find 80’s era cassette tape of this album-not having a clue what to expect. Now that its thankfully available on CD? I can at last illustrate to others lovers of funk,soul,R&B and Motown the many wonders that this album has to offer.

The title song opens up the album. Its filled with the string orchestrations of the Philly sound. But the primary rhythmic nature of are these powerful layers of wah wah guitar,bass lines and an almost reggae style bass/guitar bridge. Michael’s nearly matured singing is heard with all it’s James Brown styled cries and accents-his iconic future already firmly in place. “Don’t Say Goodbye Again” is another Philly type midtempo groove-with a rather more resigned and adult take on romantic loss.

“Reflections” is the only interpretation that is actually relatively close to the original song. The 8+ “Hum Along And Dance” bares hardly any resemblance to the Temptations/Norman Whitfield original. Breaking out with organ,rock guitars,intense percussion,an almost Police Siren type synthesizer line, the song is a psychedelic funk/soul/dance behemoth-closing with a rather Spiritual/gospel West Indian drum style and choral vocal harmonies-with a mild Native American influence as well.

“Mama I Got A Brand New Thing” is another elongated number punctuated by a strumming acoustic style guitar and zig zagging and melodic synthesizer lines. “It’s Too Late To Change The Time” is right on time with Leon Ware acknowledging the rise of the reggae genre musically with the melodic,harpsichord led hook of a classic Jackson 5 number.

The lyrics have a reflective observation of the world at that time as well. “You Need Love Like I Do (Don’t You)” is a bassy, hand jive led funk number with a driving bass and harmonies that segues into the original full version of “Dancing Machine”-which led the way towards what would soon become the disco era of course.

Not too long after this album was released,the title song became a decent sized hit-though not to the level I feel it deserved. That being said? The albums last song “Dancing Machine” is the song that,when released as a single edit the following year ended up completely changing the Jackson 5’s commercial fortunes and bringing them their first top of the charts single since their 3 hit punch in 1970,really. In a way,this would become the last album of the Jackson 5 as part of the Motown family.

The two albums released in the two years following this album were released during a period of legal battles as they sought to split themselves from Motown for the purpose to gaining the creative control they felt they required for their music to succeed and grow further. This albums elements of funk,orchestrated soul and different world music/psychedelic instrumental turns led to this not only being something of a fully unified album statement for the Jackson’s.

But also heavily reflective of the transition from the funk era (in which this album was released during) and the disco era which would come later in the decade,and in which the by then creatively liberated Jackson’s would be a huge part of. But the road to that album starts right here-probably the Jackson brothers first fully formed and mature creative musical statement.


Get It Together was, and continues to be, possibly my very favorite full length album by the Jackson 5. I emphasize albums because of a conversation with my father when I first purchased this album. He wondered why I was at all interested in a full Jackson 5 album that wasn’t a greatest hits set. When I asked him why, he described the band as inconsistent. I didn’t know what the term meant then. But now, it does bring up an important point about how the Jackson 5 were perceived then. This was a carefully crafted cycle-with all songs flowing into the other for a strong album funk sound.

In terms of the Jackson’s music for Motown, Get It Together might’ve been the beginning of the end in terms of the bands love affair with what the label could offer them. Still, this was truly their coming of age album. Mike’s vocal hiccups, a trademark of his blockbuster solo career, first showed up on this album. Norman Whitfield helped put the album together-utilizing future Commodores arranger/producer James Anthony Carmichael in the process. Members of Motown’s LA session musicians-among them Crusaders such as Joe Sample and Wilton Felder, played on the album as well.

What I personally remember most about Get It Together the intersection between myself and the Jackson’s at the time of first hearing it. I was about the same age at the time as Michael Jackson had been during the time he and his brothers recorded this album. And as with Mike, my own creative outlook (especially with music) was growing independent from that of my family and social acquaintances. That experience with Get It Together taught me that sense of creative independence is key to growing up. And I have the impression this album has impacted many others in similar ways.

 

 

 

 

 

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The First Rhythm: A Narrative Poem By Andre’ About Music, Art & Sharing

The first rhythm came from the rustling seas. There were the melodies of the dinosaurs-calling out with the cracking rhythms as the super continent of Pangaea broke up to make the world. Millennia after millennia, the music went on. From the call of the first wild mammals and birds. From the first hominids- beating their sticks. Building their wheels. Beating their drums to celebrate their harvests, their celebrations, their unions of love. From drum to horn. From harp to piano. From the concert hall to the first vinyl pressing. From Beethoven to Ellington. From Miles to Wonder. Its an ongoing adventure.

As the newest millennia dawned, the human race was in a whole new age. The computer age. The age of the world wide web. Socializing became social media. The young would one day walk the streets talking to one another. Not always with their voices. But with their hands on their phones. From real life sci fi to real life wi fi. The tap of the human fingers on the digital keyboard continues dancing to the rhythm. The music of an entire century of recording through ringtones. The rhythmic clicking of keys both real and unreal.  The music goes on and on by the day and night.

Bigger worlds lead to bigger worries sometimes. One person’s temporary condition is another person’s cause. Many of us know a cause can cause problems if we don’t like the effect. When it comes to the internet and music, a song or a sound spreads to people faster. To the world over. And that comes after another condition where music and sound are servants and slaves. Brought and sold as property. And the conflict arises. To use legalities to limit. Or have more music, available to more people than other time in history, for free. Its become a year by year, day by day game of musical keep away.

I am just one of many in this world. One of many who shares what I know about music that goes back to the post Pangaea world. That first drum on the dark continent, and its many children. And from this little spot on this world wide web, I am sometimes tangled in confusion. The oral tradition turning into litigation. A healthy musical society turning its sights fast onto privacy. For those of us who share our knowledge on music given to us, learned by us to you? Let that knowledge flow. Do not hush even one voice in this musical world. Let the music and what we know about it go on, and on, and on. Forever.

Love, peace, tolerate, share your music, share your knowledge, have fun and stay funky!

 

 

 

 

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Anatomy of THE Groove: “Multiplication” by Eric Gale

Eric Gale started to teach himself guitar in his native Brooklyn at the age of 12. He played on the R&B circuit with acts such as King Curtis, Maxine Brown and Little Anthony & The Imperials. This laid the ground work for his future as a session great. While at Niagra University, he studied chemistry. The music bug never left Gale however. His major claim to fame was as a session ace during the 60’s and 70’s. As a member of the instrumental jazz funk outfit Stuff, Gale played with Paul Simon in 1980 for his One Trick Pony soundtrack. He was also part of Aretha Franklin’s stage band for a time.

He began a concurrent career as a leader with 1973’s Forecast, on the Kudu label. He recorded the bulk of his late 70’s albums on Columbia however. His first two albums on the label were Ginseng Woman in 1977 and Multiplication the following year. Both albums have been combined together at least twice during the CD era. And were recommended to me by my dad while crate digging. Revisiting some of the songs via YouTube, the song that really stood out uppermost in my head with the title song to the Multiplication album.

Andrew Smith’s jazzy march on drums starts out the groove-with Gale’s ringing guitar improvising along with Bob James’ synths and Alphonso Johnson’s exploratory bass line-starting the groove in a dreamy fashion. Then the horns kick into the groove with Gale playing an ever evolving, down home blues type solo while Richard Tee’s piano and organ join the rhythm section in holding up a soulful groove. All with the horns accenting the changes in key on virtually every chorus and refrain.  Its on the closing extended chorus that Gale scales down on his guitar solo as the song itself fades out.

“Multiplication” is an excellent example of ace jazz/funk/rock/fusion session musicians bring a wonderful feeling to their grooves. Sometimes, albums made by session players are thought to be too technical and less human. Gale, Johnson, Jackson, James and Tee’s years of experience playing together really give this groove a great late 70’s jazz/funk version of the uptown, bluesy/soul nightclub musical ethic. And its Gale’s fluid playing style and rich, ballsy tone that lead the way with grooves of this particular type. Basically a theme he’d always variate on as a band leader.

 

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Anatomy of THE Groove: “Est-Ce Que C’est Chic” by Chic

Nile Rodgers had a colorful life long before being the one of the founding members of Chic. This native New Yorker was born to a teen mother who, like his father, was a beatnik and heavy drug user. More importantly, it was an environment filled with music. Being drawn to the guitar at an early age, Nile began as a session player with the Sesame Street band-which was led by the iconic composer Joe Raposo. He gained much of his experience as the guitarist for the Apollo Theater house band. With them, he backed up acts as diverse as Aretha Franklin, Ben E. King and P-Funk.

It was while working for a  Sesame Street stage show that he met up with bassist Bernard Edwards.  Together they formed the Big Apple Band, who became the backup musicians for the vocal group New York City. After seeing a Roxy Music concert, Rodgers was inspired to change the name of the band to Chic. Their self titled debut helped establish disco as a genre of dance music-with songs such as “Dance,Dance,Dance” and “Everybody Dance” leading the way. The album also showcased what strong composers and musicians they were. Especially with album tracks like “Est-Ce Que C’est Chic”.

The song starts right off with an instrumental version of its chorus. This consists of Tony Thompson’s pocket dance beat with Nile and ‘Nard’s classic bass run/chunky rhythm guitar based rhythm dynamic providing the base of the song. Over that, there’s a chromatic walk down on piano. A glockenspiel and what sounds like an ARP string synth provide the harmonic sweeteners to the bottom of the song. The refrain take the song up a key slightly-emphasizing Nile and ‘Nard’s bass/guitar and closer piano riffs higher in the mix. After a barer version of it on the bridge, an extended chorus fades out the song.

“Es-Ce Que C’est Chic” showcases many examples of different trademarks this disco outfit would have in their time. One was the use of their name in song titles-along with a chorus that was sung partly in French. Instrumentally, it takes older black American ideas from bluesy soul jazz and R&B. And really stylizes them with a lot of sonic polish and elegance. The song lyrics about about an actress seducing people to get to the top, sung sweetly by Norma Jean Wright, showcase the witty (sometimes topical) story songs that reflect the disco era realities of which Chic were part of the soundtrack to.

 

 

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Anatomy of THE Groove: “Read My Lips” by Michael Franks

Michael Franks has a somewhat unusual back round for a jazz artist. He primarily studied art and got a bachelors degree in comparative literature. While his Southern California family always played jazz around him, none of them were musicians. And Frank’s actual musical experience came from buying a guitar at 14 that came with six private lessons. While at UCLA, he began playing in folk rock and writing songs-inspired by his favorite (and known for his rhythmic writing style) Theodore Roethke. His main talents became as a composer after his college years.

I first discovered Frank’s music in…a pretty undignified way. It was a cassette copy of Frank’s 1987 album The Camera Never Lies given to my dad by a janitor who said he pulled it out of the dumpster outside the TV station my father worked master control at. This got me interested in seeking out more albums by him. And finding out he wrote many songs for artists I later got into-from the Manhattan Transfer to The Carpenters. In a funk context, one of my favorite songs of Franks opened up his 1985 album Skin Dive, the first album he co produced. The song was called “Read My Lips”.

Chris Parker’s drums kick off the intro-with the slap bass of Marcus Miller and bluesy guitar licks of Hiram Bullock accompanying Frank’s vocal hooks. Rob Mounsey’s synthesizers come into play in different ways throughout the song. On the refrains, they assist Frank’s vocal melodies. On the choruses, they act as a synth horn type orchestral element. Bullock’s guitar and Miller’s bass become fuller elements on the b-section as well. On the bridge refrain of the song, the key of the song changes to a higher one before an extended chorus serves to fade out the song.

“Read My Lips” is a superb way for a gentle vocals, with so much subtlety of expression, as Michael Franks to create funky music. For one, he has exactly the right people for 80’s jazz/funk fusion in his bass/guitar lineup-with the iconic Marcus Miller and the late Hiram Bullock. The arrangement is relatively spare and very Minneapolis in terms of the keyboards. But the bass and guitar provide very heavy, funky meat along with Chris Parker’s pocket groove. Michael Frank’s music went from more mellowness to heavier funkiness in the mid to late 80’s. And this is one song that reflects that strongly.

 

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Anatomy of THE Groove: “Inside Straight” by Cannonball Adderley

Julian “Cannonball” Adderley’s musical output and history is such a vast subject, I find it somewhat intimidating to write about. The Tampa native and his trumpet playing brother Nat were playing with Ray Charles in the early 40’s. After his musical studies and years of  band leading positions, he was noticed by Miles Davis for his blues rooted approach to the sax. His works with Miles included albums such as  Milestones  and the modal jazz classic Kind Of Blue. Miles’ musical journeys, from avant garde to electric jazz fusion, continued to inspired Adderley’s own music until his passing in 1975.

One idea that Cannonball and his brother Nat did at different times in the early 70’s were a pair of albums with their own groups with the subject matter being a lighthearted look at astrology. That was the side of Cannonball and Nat Adderley’s artistry that I’m most familiar with. Another album of Cannonball that was played around the household a lot was a 1973 album called Inside Straight. It was a live in the studio session recorded at the Fantasy studios in Berkeley, California. The song that got my attention right from the get go on the album is the opening title song.

Roy McCurdy’s  in the pocket drumming gets the groove going at 88 bpm, with Hal Galper’s Fender Rhodes and Walter Booker’s bass clomping along rhythmically right along with it. Cannonball plays an equally rhythmic 12 bar blues melody in his classic style over this-giving the song a strongly themed chorus. He improvises on this theme for much of the second minute of the song. On the second chorus of the song, someone (likely Cannonball) is making a squawking, almost flatulent like vocal horn effect. The choral theme of the intro fades out the song.

“Inside Straight” is just the kind of hard bop/soul jazz/funk process type of groove that shows how vital Cannonball’s music was in the early 70’s. Especially in terms of the evolution of jazz into the funk era. The groove itself is very straight forward and clear-its relatively slow tempo allowing Cannonball’s funky improvisations to really take flight. It really embodies how distinct Cannonball’s approach to sax was to allow it to evolve. That common ground between he and Miles Davis’s approach to music is really what makes this such a standout Cannonball Adderley number for me.

 

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Anatomy of THE Groove: “Mr Magic” by Amy Winehouse

Amy Winhouse is quite possibly THE popularly successful jazz oriented female vocalist during my adult years who wasn’t strictly a balladeer.  Born to a English Jewish family, her exposure to jazz came early in life. Her mother was a singer for a time who dated UK jazz sax player Ronnie Scott. And her father sang her Frank Sinatra songs as a child. She began playing guitar and writing songs at age 14. At 20, she released her debut album Frank, a rather neo soul oriented album produced by Salaam Remi. In 2006, she took the world by storm with her Back In Black album, recorded with the Dap Kings.

Winehouse’s career was marked by a dysfunctional family and love life. And a lot of resulted drug abuse and eating disorders. Sadly, she joined the 27 club in 2011 from a culmination of her self destruction. My friend Henrique and I have talked to some level about the significance of her musical legacy-especially in regard to her breakout album Back In Black. Upon hearing her debut album however, it became clear to me just how vital her jazz/funk/soul sound was even at the start of her career. And one number that illustrates this well is called “Mr Magic”.

Winehouse starts out the song with steady jazz guitar strumming-with Remi’s drums playing an in the pocket beat right along with her strumming. Winhouse’s vocals are accompanied by Vincent Henry’s punchy sax solos. John Adam’s Fender Rhodes also provides a solo that plays the exact counterpoint to Winhouse’s main guitar rhythm. The chords on the chorus have a brighter tone to them. The bridge of the song showcases an instrumental section featuring an extended sax solo from Henry and one from Adams on Rhodes before all the horn charts fade out the song following an extended chorus.

“Mr Magic” is a great example of a song that has was written on guitar. While the instrumentation has a neo soul spareness and doesn’t feature a discernible bass line, everything is on the rhythm with this song. From Winehouse’s vocal solos to her harmonies on the chorus, she is every bit part of the instrumentation vocally as Billie Holiday was before her. The horn and Rhodes based jazz/funk sound of the song also provided a template on how she’d expand this sound later-when working with the Dap Kings several years later.

 

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Anatomy of THE Groove: “Nuclear Blues” by Blood, Sweat & Tears

Blood, Sweat & Tears were the first major jazz-rock group to hit the scene. This NYC group was formed in 1967 by Al Kooper. The main members included Mothers Of Invention album Jim Fielder along with Steve Katz and Bobby Colomby. It was also the first self contained rock group to have an integrated horn section. The group would record through the 70’s-losing and gaining new personnel as they went along. Including their original lead singer Al Kooper. Their most famous lead singer is David Clayton- Thomas. He joined the band for their sophomore album in 1968.

Thomas’s raspy,soulful vocals and songwriting immediately hit pay dirt for the band with the hit song “Spinning Wheel”. He continued writing for the band until pursuing a solo career after the 1971 album Blood, Sweat & Tears 4. He returned to the band just under five years later. They continued to record studio albums, with the ever changing lineup, until their final album to date came out in 1980’s Nuclear Blues. This was their first and only album on the MCA/LAX record label. One of the highlights I’ve heard so far is the David Clayton-Thomas penned title song of the album.

A rumbling, blasting bass synth tone with a cinematic wind like sound from behind it provides the intro to the song. The horn charts blast in along with the rhythm guitar, popping bass and an equally popping keyboard part in the back round. The B-section of the main theme has the Clavinet takes over behind Thomas’s vocal. On the bridge, this same B-section is played up as an instrumental part. First with an organ solo, than a sax solo playing behind an eerily bouncing, heavily reverbed bass line. During the extended chorus fading out the song, Thomas breaks into a mini rap over that same bass line.

“Nuclear Blues” finds Blood, Sweat & Tears, by this time on their 11th studio album, having marinated on from their elaborate jazz/rock arrangements into a well oiled jazz funk ensemble. Especially with the then newest members such as the bass/guitar duo David and Robert Piltch. Along with keyboardist Richard Martinez and the slow, in the pocket drumming of Bobby Economou.  David Clayton-Thomas wrote a straight up 12 bar blues for this musical backing-one with a timely lyric dealing with the tail end of the cold war. This makes “Nuclear Blues” a perhaps unsung swansong of Blood, Sweat & Tears.

 

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Anatomy of THE Groove: “Physical Attraction” by Redbone

Redbone came to my attention through my friend Ben Minnotte over at YouTube’s ‘Oddity Archive’. The context was regarding backwards masking of songs. Ben described them as a Native American rock band. That got me seeking out their albums on vinyl. Especially, as with so many, I knew them mainly for their 1973 hit “Come And Get Your Love”. The band was started by the brothers Patrick and Candido Vasquez, known by Pat and Lolly Vegas, in Coalinga, California. The group actually came together from mere cents in their pockets after Pat won the first ever Coca Cola singing context.

The name Redbone apparently derives from a Cajun term of people of a mixed race heritage. Pat and Lolly, both of Native and Mexican descent, went from playing surf music in the mid 60’s (which resulted in their name change at the suggestion of their label) and session playing for people such as Tina Turner,Elvis Presley and James Brown. The brothers were inspired by the part Cherokee heritage of Jimi Hendrix to form Redbone to began with. And it was in the late 60’s that the members of the band began to come together to shape their sound.

The original lineup of the band aside from Pat and Lolly were drummer Peter DePoe and rhythm guitarist Robert Anthony Avilla-known as Tony Bellamy. Bellamy passed away in 2009-a year before Lolly Vegas passed. Bellamy’s birthday would’ve been today. And it reminded me of listening to Redbone’s albums and finding that amazing musical mix of rock,Cajun (with frequent lyrical references to New Orleans),jazz and funk. Definitely out of the diverse 60’s era pop music landscape, I wanted to focus on one of their songs today. The one chosen was this 1974 Redbone tune entitled “Physical Attraction”.

Butch Rilera’s drum roll starts off the groove with a bang-before the horn charts start playing a strong melody with Lolly Vegas’s trademarked Leslie rotating speaker effected guitar (sounding something like an electric sitar). This represents the instrumental element of the chorus. The refrain consists of a fast paced Clavinet groove with accents from Bellamy’s ringing rhythm guitar. The songs concludes on what what starts out as an extended chorus. Then it all goes into a sustained horn crescendo that serves to fade out the song.

“Physical Attraction” has a sound that reminds me something of what would happen if Sly & The Family Stone collaborated with the Edgar Winter group. The rhythmic precision and horn fueled melodies of funk is combined with the heavy drumming of horn rock. By the early/mid 70’s, it would seem that Redbone were embracing the heavier soul/funk aspect of their sound. Which was evident from the outset anyway. This particular song has the vibe of an unsung hit if I ever heard one. And a great testament to this first Native American rock band.

 

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