Tag Archives: 1977

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.

 

 

 

Advertisements

2 Comments

Filed under Steely Dan

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.

 

 

Leave a comment

Filed under Chic, Nile Rodgers

Anatomy of THE Groove: “Love’s Holiday” by Earth Wind & Fire

Earth Wind & Fire’s 1977 album All ‘N All is about to celebrate its 40th anniversary this coming autumn. Today however, wanted to pick one particular song from this iconic album to talk about. And for a very special reason. Raised in Kentucky, Johnny Graham started out playing the trumpet as a child. And moved to guitar as a teenager. While touring with the new birth, Graham got contacted by Maurice White. Apparently some of the New Birth members had told White how great a guitarist Graham was. And White wanted Graham as one of his guitarists in his rebooted edition of Earth Wind & Fire.

That reboot edition of EWF debuting on Head To The Sky became basically the bands classic 70’s line up. Graham, who turns 66 today, provided a strong amplified blues flavor to EWF during its salad days. And his guitar solos on songs such as “That’s The Way Of The World” essentially added that musical element of earthiness present in their name. Another such solo turned up on the song that closes the first side of the original LP of the All ‘N All album. And a song that’s become album cut by many admirers of the band. The name of the song is “Love’s Holiday”.

A thick,cymbal heavy drum count comes in with the Phenix Horns playing a beautifully jazzy unison horn chart. Than Al McKay and Verdine White’s bass/guitar interaction comes in with the Ralph Johnson’s drum clipping along at approximately 72 beats per minutes The horns, including a muted trumpet play an accessorizing part along with very faint strings in the back round. And especially on the climbing B-section to the chorus, Philip and Maurice’s sing right along with them. Graham’s guitar solo comes in on the closing refrain-playing call and response with Maurice White’s vocalese.

“Love’s Holiday” is an example of that literal “slow jam” that EWF had been perfecting during their years with Charles Stepney and beyond. It would extend from songs like “Devotion” up through “Be My Love” from the early 80’s. By the time of this song in 1977, the band and its many musical collaborators had this densely arranged jazzy funk/soul sound down to a science. Comedian Steve Harvey even singled out this particular song as an example of what “real music” sounded like. Its one of the most melodically and harmonically beautiful ballads to emerge out of the funk era in the 1970’s.

Leave a comment

Filed under Earth Wind & Fire

Look To The Rainbow At 40: Al Jarreau Remembered For This Milestone Live Album Of 70’s The Jazz-Fusion Era

Image result

Al Jarreau’s passing on February 12th of this past year has really brought to mind the many conceptions and misconceptions of his artistry from within my own personal lifetime. There really was no reasonable way to ignore the mans unique and astounding vocal artistry. But the songs he wrote and interpreted were just as musically busy and complex as his singing was. When exploring him in an album context, his 1977 live recording Look To The Rainbow was name dropped as superb example of his performance ability. Here’s an Amazon.com review I did of it six years ago.


Speaking for myself this may very well be destined to be one of the premier live jazz fusion albums of it’s era. One of the qualities that makes it so significant is the lack of the direct visual element. True Al Jarreau is,for better or worse depending on your tastes one of the most theatrical performers in jazz this side of Jon Hendricks,his most obvious influence and of course the incomparable Cab Calloway. Al put’s his entire body into the performance like a contortionist. You can see some of that in the photographs of this album.

After the release of his first two albums,1975’s We Got By and the following year’s Glow,he found that both these albums had become enormous critical successes stateside but (stereotypically) wound up enormous COMMERCIAL successes across Europe. Even winning German Grammy’s. It would take some retooling of his approach before he’d get the same treatment in his home country. But Al’s vocal and songwriting talents made such a massive wave during the following European tour that he made this album based on his performances there. The results capture more than great music. But an artist in an important place and time as well.

Recorded with a small group fusion quartet of keyboardist Tom Canning,drummer Joe Correro,bass player Abraham Laboriel and vibraphone player Lynn Blessing this album doesn’t have an enormous instrumental sound.The idea is to focus on Al’s well renowned pipes. Even Al himself said at some times the vocalist side of him got in the way of the singer. Although strongly emphasizing his own excellent compositions the interpretive element of his talent gets the perfect showcase here.

Of course there’s the live rendition of Leon Russell’s “Rainbow In Your Eyes” which here is given the extra vocalese treatment from Jarreau. On “Better Than Anything” and the title song you get much the same quality. His take on the Paul Desmond/Dave Brubeck standard “Take Five” however is the heart and soul of this album to me,with Al improvising along with the songs already unexpected time changes and charging by songs end into this…well display of sheer vocal improvisation you’d just have to hear to believe. I

t’s intelligent and exciting and the audience can’t help but applaud midway through. I know I’d have been. On “Burst In With The Dawn” and “One Good Turn” he turns up the soulful/gospel flavor in his sound. And is equally at his sophistifunk best with “You Don’t See Me” and the “new” number “Loving You”,concluding everything with a show stopping rendition of the title song of his debut album.

One of the things that makes this such a special album is that is showcases everything that was positive and musically enriching about what Al Jarreau had to offer in the beginning of his professional recording career. You get the vocalese drama and distinctive timbre that’s got him attention then and ever since. You get a good sampling of the best of his songwriting he’d done thus far. You also get his abilities as an interpretive vocalist-from the worlds of pop,jazz and funk.

It’s once been said of the great American composer Duke Ellington that he often seemed to create kind of an all encompassing music that borrowed from many sources but maintain his distinctive sound,in his case referred to as “Ellingtonia”. I tend to think of Al Jarreau that way too. He integrates many of the influences that are meaningful to him into a one sound that you somehow know is very much his own.

And his producers and musicians working close to him are also able to find ways to bring this quality out on record in many different ways. This particular album shows that unique flavor translated just as easily from the album,onto the stage and in this case back onto an album again. Just goes to show how Al Jarreau,especially early in his career could work on so many levels.


Look To The Rainbow represents Al Jarreau as a shining example that the artistry of Jon Hendrix,Johnny Mathis,Duke Ellington and Dave Brubeck were not truly lost when jazz went electric,as was the commonly held wisdom for some time. Much as with George Benson, the perception that Al Jarreau made his sound more commercial is misinterpreted. Jarreau began his major label recording career as a funk/soul/pop artist who had a jazzy vocal and writing approach. And took on jazz standards with the same vigor. This album brought out that quality in a significant way.

 

Leave a comment

Filed under Al Jarreau

Anatomy of THE Groove: “Was Dog A Doughnut?” by Cat Stevens

Cat Stevens, now known as Yusef Islam, was born Steven Demetre Georgiou in London. He was from a Greek and Sweedish back round, from a family of restaurateurs. Adopting the name Cat Stevens by 1966, he began singing in coffee houses before recording a pair of popular albums and singles such as Matthew & Son in the late 60’s. After that, he contracted tuberculosis. And his long recuperation encouraged him to seek holistic therapies to improve his health. This not only effected his spiritual life, which would lead him to the Muslim faith later. But a change in his music focus.

By 1970 Cat Stevens was the UK’s top representative of the signer/songwriter movement. For the next several years songs such as “Lady D’Arbanville”, “Wild World”,”Moon Shadow”,”Peace Train” and “Oh Very Young”. By the mid/late 70’s, Cat Stevens was growing restless with his music and identity yet again-prompted by a near drowning in 1976. A year later he released the album Izitso, which added synthesizers to his musical mix. The hit off the album was “Remember The Days of The Old Schoolyard”. What popped off the album for me though was an instrumental called “Was Dog A Doughnut?”.

A deep electronic pulse that evolves into a spacey synthesizer wobble provides the intro to the song-almost like an introductory fanfare. After that,a four note synth bass melody comes in,at first unaccompanied,to be joined shortly by a spacious 2 beat drum pattern that repeats on the second. A high pitched digital sequencer accompanies this until it evolves into a mid range one playing an extension of the bass part. The sound of a dog part plays a percussive role in between. Chick Corea plays an electric piano solo on the bridge before an extended chorus leads to the song closing with the dog barking sound.

“Was Dog A Doughnut?” is unlike anything I’d personally have ever associated with 70’s Cat Stevens. First heard the song as part of a CD mix by New York DJ Danny Tenaglia that my mother picked up in the early aughts. It got the perhaps expected accusation of being “too robotic” by some rock oriented critics of the late 70’s. But basically, along with Kraftwerk, it provided a jazzy funk tinged addition to the European end of the proto hip-hop/electro sound to come in the 1980’s. Strange a it might seem to some, this very quality make it one my personal favorite Cat Stevens songs.

 

 

 

Leave a comment

Filed under Cat Stevens

In Full Bloom Approaches 40: Rose Royce Do Their Dance On This Sophomore Success

 

Rose Royce had a massive hit right out of the box with their 1976 soundtrack to the motion picture Car Wash. In fact, it marked the beginning of funk functioning for the disco scene. And Rose Royce retained their crown for the rest of the 70’s as part of the funkiest royalty of the disco era funk bands. Between Norman Whitfield’s productions on them and the very strong caliber of the band themselves, it all made it possible for their second album, 1977’s In Full Bloom to retain the hit status of its predecessor. Here’s an Amazon.com review I did about the album seven years ago.


Rose Royce made it clear on this album that not only was their life after Car Wash for them and producer Norman Whitfield but that they fully intended to forge ahead with their sound. By the time the 70’s was at it’s midpoint synthesizers and electronics had become an enormous part of funk music,especially in the hands of people such as Stevie Wonder and Billy Preston.

While that had come into play to a certain degree on previously,the fact that Rose Royce were one of the few bands ever to debut on a soundtrack recording meant that they were going to save certain types of experimentation for their next album,if any. Turns out they were so big from the start a sophomore set was almost guaranteed. So it was basically on this album that Rose Royce…well basically became Rose Royce as it were.

While very even keel in terms of fast and slow songs,this album is primarily devoted to funk. It showcased that this was what they intended to base their sound in. But right away the bands unique sense of reinventing their influences within their groove became apparent when they unconventionally opened this album with the ballad “Wishing On A Star”. It’s one of the finest crafted slow numbers they ever did and deservedly one of their classic songs. “Ooh Boy” and “You’re My World,Girl” are the two other ballads here.

And the most soulful of them too,very much in the spirit of Chicago and Philly styles of 70’s soul balladry. On the funk numbers,needless to say it really comes to a head. On “Do Your Dance” and “It Makes You Feel Like Dancin” represent Rose Royce’s signature funk sounds where every part of the band became a purely rhythmic element-chugging like a freight train with the percussion,synthesizers,bass,guitar and cosmic vocal harmonies. It’s very much a futurist concept to how modern hip-hop producers such as Timbaland and The Neptunes approach their style of funk as well.

“You Can’t Please Everybody”,”Love,More Love” and “Funk Factory” are potent reminders of their more straight ahead,horn based danced funk sound they already showcased on their debut. Weather on cosmic electronic/space harmony based funk to chunky,hardcore brassy grooves and ballads this outfit proved to be one that had it all,could do it all and did it all when it came down to it. Gwen Dickey proved the master of funky femininity,wrapping her very girlish but very confident voice.

Even though she would come to represent some interpersonal issues within the band in the coming years,at this point she was very much part of the “funk factory” the band were starting to become. One wonders,if things had been different if Whitefield records could have had Rose Royce be part of a movement that would do for funk what Motown had done for R&B. They were very innovative and experimental in their genre of music. But also were very commercially viable. In many ways that style seemed to end with them rather than begin with it as Ricky Vincent’s “united funk” era was coming to an end with albums such as this. But still,the deed was done.


In Full Bloom represented something very important for the all important 1976-77 period of disco era funk. Just as much as it represented that potential unexplored direction at Motown (through Norman Whitfield while he was still there) as well. One element is the bands combination of thick slap bass lines combined with heavily rounded Moog bass. That gave the grooves an enormous and up front bottom to work with-along with the wah wah guitars,strings and the sweet voice of Gwen Dickey. As such, it might very well be one of the most important disco era funk albums of its day.

Leave a comment

Filed under Rose Royce

Exodus At 40: Remembering The Year Bob Marley & The Wailers Really Got People Jammin’

Bob Marley is a figure whom I’ve never covered on Andresmusictalk. Reggae is a musical genre that grew out of ska,an Afrocentric style of rock n roll, as well as from Marley’s own interest in funky soul artists such as Curtis Mayfield. And the idea that Afrocentric music could carry strong political and spiritual messages. By the mid 70’s, Marley & The Wailer’s had already more or less defined reggae with standards such as “Get Up,Stand Up” and “No Woman,No Cry”. During my life time, Marley and reggae in general was embraced by what seemed to be stoner rock fans. There’s another way to look at it too.

After seeing the 2012 documentary Marley, it became clear how important reggae and the music made by Marley and the Wailers made was to the black community around the world, and not just to punk musicians or other rock people. Marley had nearly been assassinated for advocating a specific political candidate in his own country not too long before the Exodus album came out. And with his pan Africanism-being inspired in his “Redemption Song” by a speech given by Jamaican pro black activist Marcus Garvey, Marley made total sense to me upon reviewing Exodus on Amazon.com.


One could never say Bob Marley wasn’t charismatic. By the time the 70’s was drawing to it’s concluding years,the music he was making with the Wailers were not only a rallying cry and inspiration to every from Stevie Wonder to The Clash. But his devotion to his cause was even beginning to have the power to affect political change in his native country.

However badly needed that was Marley’s position as a cultural icon began to have an effect on his life,as violence and death threats loomed on a man whose stance was primarily about peace. So he did what he always did-reached out with his music to bring in a yet larger audience in some surprising ways.

In many ways this album found it’s huge commercial success by representing reggae achieving it’s most fullest flower. If that’s what one is looking for “Natural Mystic”,”So Much Things To Say”,”Guiltiness” and “The Heathen” sure have a lot of that. Bob’s recent experiencing with the continual political corruption in Jamaica were spoken very loudly here.

And by the time we get to the monstrously churning,funky title song he’s yearning yet more for Rastafarian redemption yet again. On the next half there are concessions towards the more commercial.”Jamming” might be Bob’s most popular and one of the poppiest reggae numbers but a great one. And one of my favorite Bob Marley tunes.

“Turn The Lights Down Low” add some light electronics to the sensual flavor of the tune and the albums ends with two more unforgettable Marley anthems in “Three Little Birds” (another of my favorites by Marley) and a medley of “One Love/People Get Ready”. This self produced effort had the strong effect of both remaining true to the music Bob Marley popularized but also using some contemporary production and musical elements to add extra musical seasoning to his sound.

I’ve heard some hardcore Bob Marley fans say that they feel this album is a little too commercial for their tastes. From what I’ve heard I don’t think Marley had anything to do with being commercial. Popular?For sure. But commercial no. And because of his willingness to expand musically to get his message across,I think albums like this actually play a good part in helping the audience understand that difference.


The musical legacy of Bob Marley was already carved in stone long before Exodus came out. But when the album did come out 40 years ago last month, it helped break reggae into the mainstream just as the same thing was happening to the concurrent musical movements of punk and disco. Viewing the contents of albums such as this as having a basis in soul and funk also makes sense. Since much of disco had the same origin points as well. So this strong example of strong and unique “people music” coming from a strong pro black stance makes Exodus a vital part of the late 70’s musical landscape.

 

Leave a comment

Filed under Bob Marley

Anatomy of THE Groove: “Do You Wanna Get Funky With Me” by Peter Brown

Peter Brown’s early history in his native Illinois (in the Chicago area to be more exact) almost seemed set up for him to be a major musical player in the future. His mother was artistically and musically talented enough to give him music lessons from an early age. His father’s career as a electronic engineering inspired young Brown’s interest on the technical end of music. He provided his son with different tape records. By the time he was an adult, Brown became a pioneer of the ARP synthesizer. Even becoming a spokesman for the instrument for a time.

Brown was fortunate enough to begin his musical career during the 70’s-when the psychedelic stew,funk and later disco era made for a much more diverse variety of popular music in America. Brown ended up with the Miami based TK label. There he met his first circle of musical cohorts-including his first producer Cory Wade. In 1977 Brown released a 12 inch single that would go on to become the first gold single in history. It would be included in another version on this debut album A Fantasy Love Affair a year later. It was called “Do You Wanna Get Funky With Me”.

A low,thundering burst of ARP synth bass and a higher textural tone begin the song over a pounding 4/4 disco beat. Then the main groove of the song comes in. The four on the floor beat is accented by spicy percussion,a slow rhythm and a thick bass popping/wah wah rhythm guitar interaction on the refrain. The choruses bring back the higher pitched ARP. On the bridge,the percussion is a slow Brazilian grind with a bumping synth bass,female vocal and synth brass accents. This groove holds together for 3 whole minutes until the refrain/chorus goes up in key to fade out the entire song.

“Do You Wanna Get Funky With Me” is one of the best examples I’ve heard of what my friend Henrique calls “funk functioning as disco”. The 4/4 dance beat is locked down tight for sure. The percussion also has a hard driving Latin vibe. And the synth/guitar/bass interaction-along with Brown and his backup singers screams, are out of the school of straight up hard funk. The use of synthesizers for the brass section over a hard funk groove reminds me of a less condensed version of Prince’s late 70’s sound as well. Major record that I’m happy to have had the pleasure of recently hearing for the first time.

 

1 Comment

Filed under Paul Jackson

Too Hot To Handle: Heatwave’s Debut Album’s 40th Anniversary In the US

Image result

Heatwave had been a huge international disco era funk mainstay from the get-go. When the late Johnny Wilder Jr began assembling the band while in West Germany-following discharge for the US Army in 1975. In 1976, the band released their debut album Too Hot To Handle in the UK. The original album cover art was a painting of a sun’s horizon over the sea courtesy of Norman Moore. The album was released on May 30th of the following year in the US. It was given a new cover. This one a comic book design of a vinyl album melting on a sidewalk-this time done by Robert Grossman.

This albums 40th anniversary has already passed. Oddly enough, it was one of the last Heatwave albums I actually investigated. Due to a broken CD player, my first copy of it succumbed to laser rot. A couple of listens to this album gave me to realize that its one of those albums that deserves a full form review of its contents. All the songs on it were written by the late,great Rod Temperton. And most of them showcased Johnnie Wilder’s dynamic, rangy vocal interpretations. So here,song by song is my own overview of the album. Not song by song exactly. But taking each of them as part of a wonderful whole.

The album starts off with a three prong uptempo punch. First is the title song-which uses call and response horn lines and slinky synthesizers playing similar melodic riffs-right along with the vocal trades of the Wilder brothers Johnnie and Keith. “Boogie Nights” starts off with a swinging,guitar based be bop type intro before heading into a driving Moog bass driven groove-one with funk functioning as top end disco. “Ain’t No Half Steppin'” is heavy bass/rhythm guitar oriented funk that’s directly descended from James Brown. Especially with its condensed, funky drum/percussion based bridge.

The album showcases a diverse range of songs from there out. The vocally epic,Philly style “Always And Forever” is a wedding dance classic now. It was recorded by Johnnie vocally as if he was performing live-ad libs and all. “All You Do Is Dial” has a gentle jazzy pop flavor while “Sho ‘Nuff Must Be Luv” has a cinematic Chi Town soul ballad approach. Those are the main ballads of the album. There’s also “Super Soul Sister”-a guitar and Clavinet fueled funk number that starts into a jazzy swing similar to “Boogie Nights” on the bridge.

“Lay It On Me” has a smooth funk vibe with a driving bass Clavinet,muted trumpet, strings and again Johnnie Wilder’s voice leading the way. The album ends with a nostalgic look back at old school child discipline on the (again) James Brown style funk of “Beat Your Booty”-this time with an open,round synth bass wash goosing the lead and harmony vocals along. Overall Heatwave got off to a powerful start with this album. Their basic sound was still built around the songs being played live. Still,their reputations as masters of the disco era funk/soul sound in the studio shines strongly too.

This band that was a little Dayton,a little continental Europe really showcased themselves as extremely funk oriented here. Not long after this, members of this group Rod Temperton and Johnnie Wilder Jr would become linked in different ways to the launching of a record breaking superstar in Michael Jackson. But with the massive hit success of “Boogie Nights” and “Always And Forever”, Heatwave came right out of the box as a funk band who could play serious grooves,right serious songs and sing serious melodies.  And for that, I have no doubt their legacy will live on.

 

Leave a comment

Filed under Heatwave

A Blow For Me,A Happy 40 Years For You: The Album Where Fred, Maceo And P-Funk Officially Met At Their Crossroads

The clean transition from James Brown to George Clinton’s P-Funk all comes down to Fred Wesley and Maceo Parker. These were two totally different approaches to funk. JB laid down the groundwork. P-Funk, while more psychedelic in the beginning, took over where Sly Stone left off by the mid 70’s in terms of embellishing JB’s basic structure for the music. It was the horns that really did a lot of this of course. And George Clinton knew that. And in 1977 he gave that end of P-Funk its own identity with A Blow For Me,A Toot For You. Here’s my Amazon.com review that goes further into what it was musically.


As probably the most significant horn section in all of funk? The band that Maceo Parker and Fred Wesley led had a lot of different names. They were the JB’s,they were All The King’s Men,they were The Macks and eventually a part of the funky heartbeat in the nervous system of George Clinton’s P-Funk during the mid 70’s. After working as part of Bootsy’s Rubber Band,George decided that the already iconic Maceo and Fred needed a P-Funk era album of their own. And in 1977 they got their chance.

“Up From The Downstroke” is presented here as an extended stripped down variation of Parliament’s original where the collective horn charts interact call and response style to the horn solos. The title song slows the tempo right into the groove with the horns responding directly to Bernie Worrell’s orchestral synthesizer. “When In Doubt,Vamp” finds the horns all playing rhythmically in classic James Brown style.

“Between The Sheets” finds the horns intertwined into a thick mixture of reverbed, liquefied bounding bass and rhythm guitar/keyboard interaction while “Four Play” begins with a singled out funky drum before going into a jazzy rhythm guitar led jam. “Peace Fugue” ends the album with the electric piano tinged ballad that closes it all out with a more melodic style of trumpet solo.

During the time I first listened to this on vinyl? Something about the album lacked some of the rhythmic sauciness and vigor that I was used to hearing out of P-Funk at that particular time. Listening to the vinyl again over a decade later? I realize just how important this album had been in showcasing how musically clean,spit and polished the P-Funk sound actually was during the peak of it’s powers.

Maceo and Fred’s expert horn solos and interactions are explored in ultra sleek productions where time was taken in the studio rather than the often hit and run recording sessions James Brown had often done. This became a model for some of the later studio works of these musicians after they departed from P-Funk. And is a superb example of George Clinton and Bootsy Collins’ prowess as studio producers.


Back when I was first getting into P-Funk,it was during a crate digging experience that I located this album on vinyl In all honesty, it is not as powerfully innovative as Mothership Connection or Ahh The Name Is Bootsy Baby. In a way, that was kind of the point. P-Funk began as a somewhat instrumentally undisciplined psychedelic rock and soul outfit. And the discipline that JB alumni such as Fred,Maceo and Bootsy (mainstays of the Horny Horns) brought their blend of controlled chaos to make sense of P-Funk’s intent. On that level, this album is a crucial stepping stone for P-Funk’s late 70’s peak.

 

2 Comments

Filed under P-Funk