Tag Archives: 1977

Funk & Disco Pops Of 1977: ‘Bridges’ by Gil Scott-Heron & Brian Jackson

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Gil Scott-Heron released this album at a very key time for his particular creative bent. This came out during the beginning of the disco era and for many, outside the influence of the Philly sound, there just didn’t seem to be too much room for complex sociological dialog in the music. There were songs with MESSAGES, yes. But in terms of the deep poetic insights you’d find from someone such as Gil Scott? It all seemed to be getting away from us at a time when it was needed most.

Heron was intensely aware of these changes in music. And had every intention of maintaining his vision and style. Even in the face of so many uncertain changes in the music industry. This album was recorded using TONTO, the massive synthesizer complex that had worked miracles for Stevie Wonder and the Isley Brothers during their early/mid 70’s height. Even at this point,  it was all too easy for this huge instrumental complex to create a sound that was both very much in the now and futuristic.

And musically, Bridges is indeed futuristic sounding funk for the people . Aside from Brian Jackson’s multi instrumental talents, the Fender Rhodes as well as the sound of the massive TONTO weaves it’s electronic, bubbling chords and bass lines into the musical tapestry to create unique sounds. Just as much as what Stevie and the Isley’s had done with the same instrument. The mood it sets goes right along with the emotional accompaniment of Gil Scott’s vocal style. The bass oriented sounds in the production is pushed up front. And the improvised jazz-funk element gets the same effect.

Song wise the album ranges from uptempo, positive spirited melodic funk such as “Hello Sunday! Hello Road”, the amazing “Racetrack In France” and “Under The Hammer” to slower and richly varied in texture and melody type tunes such as “Vildgolia (Deaf,Dumb & Blind,”We Almost Lost Detroit” and “Delta Man”. The range of subject matter of these songs (as usual with Gil Scott) is densely layered-ranging from enlightening muses both the concept of prejudice itself to the escape from it. Along with the usual historical contexts.

Songs such as the acapella “Tuskegee #626” tackle a well known historical atrocity (in this case the Tuskegee Experiments) but does so with a very bright and almost sunny melody. This showcases Heron’s understand of the very sharp contrasts in the lifestyles of not only the African American culture. But how it also extends those contrasts into other aspects of life for Americans of other nationalities. This welcoming, humanistic album would be followed the more darkly reflective Secrets- also using TONTO for that as well.

Gil Scott-Heron and Brian Jackson had certainly proved their meddle in terms of how they were able to continue adapting their art their own way during an era. An era when artists were losing more and more control of what they did. And when you listen to this, and realize the influence it’s had on so much musical poetry and the hip-hop world today, (and Gil Scott is for all intents and purposes a hip-hop artist anyway) than you know your in for something very special and meaningful.

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Funk & Disco Pops Of 1977: ‘Goin’ Places’ by The Jacksons

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Pop chart statistics may mislead you otherwise but, in terms of The Jackson’s’ early years at Epic this has to be their more consistent and enjoyable album. Whereas some of the production on their self titled debut from the previous year is somewhat by-the-numbers Philly soul and is also recorded rather flat this album is mixed up a lot hotter and,while still deeply ingrained in the Philly sound the grooves,rhythms and sense of funk are much strong emphasized. So this second Epic album is a lot more punchy, aggressive and uptempo than the debut.

I didn’t realize until recently that “Music’s Takin’ Over” was really huge in New York during this time-according to an interview with Chuck D of Public Enemy my friend Henrique heard. And I can see how it would be a huge funk monster because the guitar and bass riffs are MEAN and Mikes voice has a lot of strength on the song.The title song is the only tune here that doesn’t really represent anything entirely new for the group and kind of sounds just a little behind the times.

“Diff’rent Kind Of Lady” is one of two (again) self written songs and is another incredible groove that has this great sense of tension in the rhythm and a tad of Vocorder in the end.”Even Though Your Gone” and “Find Me A Girl” are more glossy Philly ballads than the kind heard on the debut and actually serve as good selling points for this album.There are a couple more great uptempo tunes in the heavily,percussive bounce of “Jump For Joy”-one of the most genuinely “positive thinking” type songs I’ve heard and the happily funky orientation of the music really delivers on the promise.

There are some excellent celebratory synthesizer squiggles at the conclusion of the song that help to bring it even more to life.”Do What You Wanna”,another self written tune has a really crisp Philly jump to it and..is yet another positive attitude kind of song.Michael singing “Don’t be phony just be for real” may seem slightly awkward now but at least then I could sense he believed it even for himself.

The pointed anti war ballad “Man Of War” points to the Jackson’s’ future Utopian vision of unity over conflict. This more than any other Jackson’s album from the mid/late 70’s really pointed the most to an individual musical and conceptual direction for the brothers.And even though this is still a very much ignored part of their recorded legacy that should at least be taken into consideration.

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Don Juan’s Reckless Daughter Turns 40: Joni Mitchell In Dreamland

 

Joni Mitchell did something very special in the mid to late 1970’s. Something that impacted on me personally roughly 25 years later. She began to combine folk oriented singer/songwriter instrumentation with jazz chords and harmonies. Her approach at this evolved from working with Crusaders Joe Sample and Wilton Felder to fretless bass icon Jaco Pastorius-all between 1974 and 1974. In particularly on 1975’s The Hissing Of Summer Lawns,  Mitchell’s music was her own unique hybrid. Neither jazz or folk. This all came to a tremendous head with her 1977 release Don Juan’s Reckless Daughter.

It was an album where the cover art (as was typical done by Mitchell herself) drew me into its musical world. It depicts three images of herself. One seems to be a herself as a teenager. The other is a character she portrayed at a Halloween party named Art Nouveau. This was based on a black man she met who complimented her at that time. Mitchell describes her soul as “not being that of a white woman”.  And that she often writes from a black perspective. Embracing the jazz aestetic, from be bop style poetics to the music itself, all became a part of what made this 1977 double LP what it was.

The song “Cotton Avenue” starts the album with an overture, one where Mitchell is playing six differently tuned guitar tracks simultaneously. The song itself is a swinging number-heavily textured by Jaco’s atmospheric bass lines.  The faster “Talk To Me” and the slower “Jericho” both explore the approach of Mitchell’s guitar with Jaco’s bass-playing in an almost Salsa like rhythm on the former, and back to the jazzy swing on the latter. “Paprika Pains” is a 16+ minute cinematic number, showcasing Mitchell’s improvised piano with full jazz orchestration.

“Paprika Plains”‘s music also serves as the soundtrack to a first person description of a late night bar gathering of Canadian First Nations tribe’s people-poetically touching on matters of alcoholism and despair. “Otis & Marlena” is a fairly conventional country tinged folk number. Its based in the acoustic guitar. Its a character sketch of two people vacationing in Miami while “Muslims are sticking up Washington”. “The Tenth Worlds” is primarily the work of Puerto Rican percussionist Manolo Badrena, one which focuses only on his fluid Afro-Latin percussion and improvised vocal chants.

Weather Report member Alex Acuna joins in for “Dreamland”, my personal favorite number on this album.”Dreamland” merges an even broader (and somewhat slower) Salsa percussion sound with the highly hummable, Caribbean folk style melody of Mitchell’s. Chaka Khan provides a very tribal sounding back up vocalese right along with Mitchell’s on the song. The title song is somewhat similar to “Talk To Me” from earlier in the album-as well as “Coyote” from her previous album Heijra.  The more rocky “Off Night Backstreet” and the folk oriented “The Silky Veils Of Ardor” close out the album.

Don Juan’s Reckless Daughter represents the official birth of what could best be described as a Joni Mitchell sound. Its true that jazz always accommodated other musical styles into it. Mitchell wasn’t new at doing that. But she did manage to expand on the possibilities of jazz fusion at the same time as she did the same for her own songwriting style. That coalition of personal and overall creative intent would is likely a lot rarer a thing than it might seem. And just for creating a welcoming and enticing entry point into Joni Mitchell’s musical hybridizing makes this album one of her most iconic ones.

 

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Funk & Disco Pops Of 1977: ‘The Force’ by Kool & The Gang

 

Kool & The Gang had been present for every single crucial development in funk music-right along with James Brown. . That being the case,the quality of their output during the funk era was very high in relation to their commercial success. By the time the 70’s entered it’s second half, the music was changing. Kool & The Gang for their part responded very well with their previous release Open Sesame‘. And also added more female singers as well and slicker arrangements. By the time they put out this follow up that hadn’t changed for them. Except their commercial fortunes.

“A Place In Space”, “Slick Superchick”, “Just Be True” and the title song represent what amounts to five in your face K&TG style funk numbers very much in their early/mid 70’s style period-very high on that quotient on their classic funk sound . On songs like “Mighty Mighty High” and “Oasis”, there’s something of a new element beginning to take root in their sound that can also be heard on “Life’s A Song”. The collective style funk vocals are still a huge part of their sound. They have come to better refine the mellower, melodically crafted elements into their hard funk sound.

And why not anyway?  K&TG came from a jazz back round and more than knew their way around a wonderful melody. That shows up pretty much on Khalis Bayyan’s flowering solo on the closer “Free”. This album made it clear they’d more than be able to function outside just cranking out popular funk jams. That there was possibilities for something mildly more popularly engaging.

The best part of The Force is the message in their music is not only intact, but grown in strength and conviction through the musical changes they were beginning to go through. Still as with the album to come, this would be considered something of a load barring album for the band.  An album that was part of a two prong connective thread that served as transitional music between two very different periods of their musical output.

 

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Funkentelechy Vs. Four Decades: P-Funk Set On Mood Control, Even For Those Who Can’t Afford Free Speech

How many times have I heard how important the Funkentelechy vs. the Placebo Syndrome album was? And how many times have I walked passed this album? Even to the point of buying the CD and (at first) returning it because I felt the sound quality was bad? Funkentelechy has the distinction of being both a transitional P-Funk album-as well as a transitional for Parliament on its own. Before this album, Parliament was largely built around it’s horn/rhythm section rather then layers of keyboard/guitar solos. That element is a key part of this album as well with of course “Bop Gun” and the title song.

From there, things get even more interesting very fast. “Sir Nose D’Voidoffunk” not only serves to introduce an important P-Funk character conception to the scene but also the kind of tune that builds from the ground up into a Clinton style variation of “Three Blind Mice”. Thematically this album is a lot different than Mothership Connection. Whereas that albums concept was fairly implicit the band apparently had decided at this juncture that few were getting the point so the Sir Nose character and the story they built around him said it all.

Sir Nose’s story was that the sense of funk in music was being replaced by the “placebo syndrome”. And that it was spilling into areas outside music too. Unusually enough, there are two songs here that seem to have to do with P-Funk’s new music. While conceptually “Wizard Of Finance” and “Placebo Syndrome” are right in tune with the album, and are full of Clinton’s renowned wit, they connect more musically with his past-with their shuffling doo-wop sound. As with everything else on this album it’s Bootsy who carries this album along with the vocal harmonies and horns as usual.

Of course, the album ends with both eyes on the future with one of the bands best known numbers “Flashlight”. Thanks largely to the late Bernie Worrell’s layers of bass synthesizer, the song showcases the sound most people will tend to think of in terms of P-Funk;rhythmically dense,relatively mid tempo and very electronic. It’s the P-Funk sound that would define Parliament to the end. While Funkentelechy vs. the Placebo Syndrome may not be quite as defining musically as some other Parliament albums due to its  transitional nature, it does its job on that end in terms of conceptual realization.

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All ‘N All At 40: Earth Wind & Fire In A Land Called Fantasy

Earth Wind & Fire’s eighth full studio album All ‘N All is music that’s continue to grow with me. Since the very first time I heard it. Only a few days before this writing, my friend Henrique even discussed with me how vital it was that EWF had three drummers aboard during their salad years. There was Ralph Johnson, as well as the bands founder and conceptualist in the late Maurice White. As well as his brother Fred. Maurice himself played drums on the song “Runnin'” from this particular album, a song that’s a particularly jazzy affair.

A somewhat humorous anecdote deals with All ‘N All‘s opening song “Serpentine Fire”. Again from Henrique. We were discussing the songs seemingly sexual playfulness. And how slow the tempo of the song was in relation to the rest of the playing. Turns out in timing the tempo, “Serpentine Fire” clomps along at around 69 BPM. So there is past, present and future lessons to be learned from All ‘N All for its listeners. The future is not ours to see of course. And its also important to absorb the past lessons the music on this album has taught. And I can only truly speak on personal experience in that regard.

All ‘N All has it own rich history. EWF as a band had just survived the tragic loss of Charles Stepney-as well as recording much of their following album Spirit without him. Maurice White then took a much needed vacation with his wife to Brazil and became deeply emerged in the Latin rhythms he heard out of Rio and Sau Paulo. Particularly those of Milton Nascimento. Milton and Maurice came to the conclusion that a combination of their sound would be a strong new element within Earth Wind & Fire. Especially since Afro-Latin percussion was already an enormous aspect of their sound.

Flash forward to the mid 1990’s and I am just getting into the albums of EWF. I remember riding my bike seven miles or so across a lot of traffic to get to the local mall area where there was a record store called Strawberries. Browsing through their cassettes I came across this album on tape. Though the cover was much tinier,it touched on a deep interest I’d had in ancient Egypt and the pyramids of Giza since before I even learned how to ride a bicycle to begin with. Recognizing at least one song on it,and seeing it was in my price range? I decided to purchase it.

After getting this tape home, I put it in my portable cassette player and…found myself travelling in a musical world I am going to try my best to explain to you now. Beginning with a somewhat Michael McDonald sounding Clavinet riff from Larry Dunn,”Serpentine Fire” kicks into high gear with clinging Brazilian percussive funk of the most meaningful order. I could write paragraph after paragraph about the lyric’s seemingly flexible meaning,but the slithering rhythmic nature of the music may tell the story even better. I’ve heard it said that “Fantasy” is rhythmically deep into the “4 on the floor” disco beat.

“Fantasy”‘s cinematic atmosphere transcends anything else for a song celebrating romantic imagination. The Kalimba interlude “In The Marketplace” goes into the furious horn funk of “Jupiter”-probably one of their cleanest played and most under heralded funk numbers they ever made. “Love’s Holiday” is a quintessential EWF mid-tempo groove that is more verse oriented when it comes to Maurice’s lyrical approach than his usually melodic style. The first part of Milton’s “Brazilian Rhyme” is next-concluding in a stomping,funky jam with Verdine’s bass bopping brightly.

“I’ll Write A Song For You” could be viewed somewhat as “Reasons” part II instrumentally -with the songs eloquently romantic lyrics building into a fantastically orchestrated climax. “Magic Mind” is another excellent uptempo funk number-with some of the most elaborate soloing from the Phenix Horns. “Runnin” is one of my favorites here. Starting out as a vocalese led melodic jazz-funk/fusion jam from Philip Bailey,the already heavy Afro-Latin strains in the rhythm come to a percussive frenzy by the songs second half-with Larry Dunn’s kinetic synthesizers bridging the two sections together.

“Be Ever Wonderful” closes the album with its only fully gospel/soul derived song on this album-ending with a triumphantly sung mid tempo ballad.  The only way I could even try to explain this is that the way in which the Brazilian rhythms and bouncing melodies on this album are carried out? The entire quality of the music on this album has the feeling of a journey, the feeling of motion towards a compelling knowledge outside oneself . This album brings mystery into focus,and brings time to a slower crawl. And its funk that is both spiritually deep and commercially successful.

All N’ All, from its gatefold artwork to its thematic content, also embraces ideas somewhere between monotheism and pantheism. Maurice White once referred to the albums title itself as referencing that idea of all human religions representing one higher power. EWF also blend in their variation of the classic secular/spiritual soul music themes. The romanticism of humanity seem to even become a spiritual matter on these songs. From the change in the bands logo to a golden roman style font onward, the entire affair was a musical rebirth for a band still deep in their peak musical powers.

The golden annivesary of this album seems far away. But at a mere decade away? It has just occurred to me that by 2027, all of the Earth, Wind & Fire members from this era may have passed away. But as its been said many times, the result of art is ones footprint in time. All ‘N All has the potential for its footprint not to be fully realized until all of its creators are gone. Thinking about the passing of Maurice White last year, his musical spirit in particular permeates this entire album. And he and his band of musical brothers fashioned a funk/jazz/soul masterpiece from that creative synergy.

 

 

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Funk & Disco Pops Of 1977: ‘Right On Time’ by The Brothers Johnson

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One good way for a musician, group or duo to avoid the problem of a sophomore slump album is to avoid the common mistake of xeroxing the style of their debut set for the follow up. I’ve seen it happen with all sorts of music,many of us have. Some people for some reason just opt to play it safe. But the Johnson’s were working with Quincy Jones and neither one of them were content with being safe.

As with their debut Louis and George were looking to do keep a grounded groove and keep the melody out front but all the same they elected to make a change. On Look Out for #1 they were based in hardcore Sly Stone styled funk this found them associated more with the latter 70’s sophistifunk style. Meaning creamier production,somewhat more of a pop-jazz base to everything and overall not as much of a musical attack to the sound. Now the real kicker is how they approached this (minor) change in their musical style.

Actually this album contains only two songs that could qualify as hardcore uptempo funk and that’s the title song and the instrumental “Brother Man”. They’re similar to the funk from their debut but even here the sound is a lot glossier and the playing is much tighter then before. Most of this album takes it’s cue from “Runnin’ From Your Lovin'” which begins the album in a similar tone to before but the approach again is gentler,with the synthesizers and reverb laid on much thicker.

Of course on the instrumental “Q” it starts out sounding almost like a Lee Ritenour style riff . And then it goes into more of a crunching funk breakdown-not a bad combo really. The same thing more or less happens on the vocal “Never Leave You Lonely”-that combination of pop jazz and hard funk”Free Yourself,Be Yourself” has what I’d describe as a very aggressively comforting pop melody-not as hard driving as Sly but not heavily harmonized like the Philly sound but actually something of a cross between the two.

Their famous hit version of Shuggie Otis’s “Strawberry Letter#23” is quite a bit more abstract than the original,with a very striking almost art rock style jazz guitar riff from George and again reverb and echo effects up the wazoo. The album ends with the folksy soul of “Love Is”,which has a lot of commonalities with the type of music Bill Withers and to an extent The Isley Brothers were making in the early to mid 70’s- only with the latter in the decade production sheen.

Generally speaking, this is somewhat of a smoother ride than they started out with-even when the rhythms kick up they hit just a little bit softer in a similar turn of phrase to how Miles Davis described his own musical approach. It’s also an important lesson in never making the same album twice. Even though the musicians and musical sound are similar there’s a clear difference in approach. And it seemed to have paid off because this album succeeded creatively,musically and commercially to the level of their debut set in every way.

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Funk & Disco Pops Of 1977: ‘Reach For It’ by George Duke

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Somehow it hit me listening to this…just how much of my adult musical understanding comes out of the artistry of the late George Duke. Painted his portrait several times. Made a friend because of him,who had me speak to Duke himself on a radio show and later taught me how to play chords on the keyboard to the man’s song “Capricorn”. Obviously this is not the first time I’ve heard this particular album.

It was the first record by him I ever heard of. And the first of his I ever saw sitting in the record store CD racks. It was a major album for the man career wise. So many jazz/funk lovers and fellow musicians have aurally eaten this album whole over the decades. So hear is what I hear when listening to it.

Opening up with the cinematic bass synthesizer of “The Beginning”,the album goes right into the powerful guitar/bass interaction based jazz/rock fusion of “Lemme At It”. Opening with a fanfare on the electric piano,”Hot Fire” deals with some heavy duty Afro Cuban rhythms and melodies. The title track of course finds the classic half rapped/half sung slow bass synth funk stomp holding down what amounts to a “P-Jazzfunk” masterpiece.

“Just For You” is a melodically complex pop/soul ballad with an electronically symphonic instrumental chorus. “Omi (Fresh Water)” and “Diamonds” are both kinetic,uptempo Brazilian fusion jams while “Searchin’ My Mind” is an EWF like uptempo pop/funk number sung by singers Dee Henrichs,Deborah and Sybil Thomas.

“Watch Out Baby!” is a grinding hard funk stomp with the bass/guitar rhythmic chunkiness of Stanley Clarke and Michael Sembello leading the way. “The End” concludes the album similarly to how it began,while the additional unreleased bonus selection “Bring It On Home” deals with a down home bluesy soul instrumental. What George Duke and his extremely talented band of players does here is really quite amazing. For the last several years before this?

He’d musically sought to locate and lock down the unifying rhythmic/melodic threads between jazz, soul, rock, blues and the music of Brazil. The unifying factor he discovered was a strong sense of musical Afrocentrism. And that’s the quality that this album,across it’s oozing mix of musical genres,possesses in abundance. Exciting, joyous and adventurous jazz/funk that I feel is among the most essential of it’s particular spectrum

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Aja At 40: Welcome To The Land Of Steely Dan

Steely Dan’s 1977 album Aja was an album whose success has been based far more on its quality than its commercial potential. In 2010, it was even inducted by the Library of Congress into their United States National Recording Registry. It even won a Grammy in the the year of its release for being the best engineered non classical record of the year. For me, it represented the precision musicianship of the jazz funk era musicians who played on the album at some of their personal best. Also in 2010, I wrote a review on Amazon.com about the album and how I personally heard it.


Time has a way of testing a work of art that might be today’s masterpiece but tomorrow’s rubbish pile. One would probably find that not only would this album ace such a test with flying colors but could actually still be considered something of a yardstick of it’s kind. I am not sure but before this album very little music that qualified as jazz-funk,fusion or pop/jazz ever quite had the same level of all around success this one had in pop and rock circles and especially among pop radio listeners. There are a couple reasons for this.

For one the music featured here is a fully realized refinement on what was accomplished with The Royal Scam and unlike that albums more jagged moments both the production and arrangements on this album are clean as a whistle. For another thing none of that took away from the daring and adventurous flavors here. So you have this mixture of elegance,sophistication and a strong groove that only those really in the know about funk can provide.

The production of the Clavinet on “Black Cow” pretty much tell the story and some of the songs people don’t remember as well here such as “Home At Last” and “I Got The News” there’s some of the most intricate and uniquely textured piano work Donald Fagen had committed to record thus far and trust me: on that area he’d more than earned a few brownie points already. The title song has one of the most complex melodic constructions your liable to find in a pop record.

And of course it’s not easy to get Steve Gadd’s amazing fusion style drum solo at the songs conclusion out of one’s memory even after the passing of time. The popular hits from this album “Deacon Blues” and of course “Peg” showcase another surprising element of this album. Those familiar with Steely Dan before this album realize lyrically they tended to specialize in warped tales,usually of people no one wanted to know. These songs maintain their lyrical style but the tales they tell are a bit more accessible in tone and are among the more lighthearted and quaint in their catalog.

Yeah they were probably making a few funnies about the stereotypical simplicity of pop music lyrics but….a lot of it just is what it is and that’s kind of different for their usually double meaning approach. “Josie” ends the album on a similar note although the lyrics on that one may be just a tad slinkier and the groove just mildly edgier. At this point you could say this was Steely Dan’s best overall album and it’s certainly their best known.

But it’s also important to know their “laboratory in the studio” approach to recording across their previous two albums really opened the door for this to happen. So this was the conclusion to a long enduring musical experiment rather than something that came out of this air. That taken into considering the amazing thing about this is…..all these years later it still doesn’t sound like a product of hard labor.


Aja was an album that I first heard playing in my family’s car “boom box” when, as I recall, we were going to pick apples. Its an excellent example of a record where the melodic and very welcoming jazz/funk fusion grooves of the album deflect from Steely Dan’s typically cryptic and “insider commentary” based nature of their lyrical content. There’s a lot on the musical end of this album that I was able to project into a YouTube video I did about the album recently.  Aja is a record I could go on and on about here. But in the end, its best for the music to do the talking in this case.

 

 

 

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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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