Dr John is truly in a class by himself. I’ve seen the man live. And in that context, I can utter him in the same sentence as James Brown, Ray Charles, Stevie Wonder and Aretha Franklin. You hear this guy, there’s instant recognition. It’s his musical sound. In terms of sheer funkitivity this album is a dream come true. His band on this album is the Meters. It was produced by Allen Toussaint. And it was recorded in 1973 at the height of the funk era. So if you go into this album expecting something different thank funk,funk and more funk? You indeed probably are not in “the right place”.
The album opens up with the title track…I don’t think I can say anymore. It’s one of those select few bonafide funk songs that almost everybody knows . On “Same Old Place”? Surprise surprise; more slinky,swampy Clavinet driven funk of the highest order. On “Just The Same”,”Qualified” and “Travelling Mood” there’s a tad bit more of a relaxed soul atmosphere to it. But the songs are no less in the groove. On “Peace Brother Peace” the funk is back full throttle,like Sly Stone in the Bayou with those calling horns and Dr John belting out a “people music” lyric about world peace not being merely a far off slogan.
And he does have the effect of making even the most offbeat things as real as one would want them to be. “Life” continues on this theme,with some great piano licks and a strong melody to boot. On “Such A Night” there’s a heavy dixieland jazz style soul-pop flavor to the proceedings. “Shoo Fly Marches On” and “I Been Hoodood” are the deepest, swampiest funk here and the closer “Cold Cold Cold” brings The Meters own sound more strongly in Dr. John’s sound. Almost everything this guy gets his claws into is going to be dripping from side to side with funk. Always has been that way for him.
In The Right Place is definitely a full on funk album. The Crescent City, from where Dr. John and The Meters come, is probably the main origin point for funk as a social concept. In the late 19th century, a musician named Buddy Bolden, often credited for being the first person to play jazz, played an original number of his called “The Funky Butt”. This might’ve been the birth of the term funk in a musical context. In The Right Place comes from it’s early 70’s as some of the most rooted, vital funk of it’s era. Its also one of Dr John’s classic albums. And it couldn’t deserve that status more if it tried.
The Pointer Sisters-Anita,the late June and today’d birthday girl Ruth Pointer (also the eldest of them) have always stood to me as an example of a truly democratic group. Aside from the 1977 departure of sister Bonnie,the remaining three sisters developed a vocal approach that focused on the importance of groups in vocally centered funky music. Their 3 part harmonies assisted one or the others sisters’ vocal lead generally. Ruth’s voice has always stood out very strongly for me. Her gospel powered husky tenor calls to mind what I’ve heard from the iconic Mavis Staples and more recently Lalah Hathaway. So Ruth and her sisters have really prioritized uptempo music in their repertoire.
Diversity seemed to be the key for the Pointers while recording for the Blue Thumb label in the mid 70’s. Their first three albums on that label were a mixture of swinging jazz,jump blues and even country/western. Vocally they performed everything as if each was their chosen approach to music. Of course each of these albums got seriously funky at one time or another. And for me that’s where their musical soul really shined through. Their 1975 album Steppin’ is the best such example-containing contributions from Stevie Wonder and Herbie Hancock’s Headhunters. It was their classic writing partner of the era Allen Toussaint who provided Ruth’s shining groove on here called “Going Down Slowly”.
The drum and Melvin Ragin’s high pitched wah wah guitar give the basic beat a heavy reggae like skank to it. There are several layers of wah wah guitar-some of which trickle like falling rain while others burst forth like a revving engine. The piano comes down equally as hard while the bass line scales up and down as a strong,phat support system. Sharing the lead with her sisters Anita and June’s gospel/jazz style harmonies,Ruth even sometimes double tracks her own leads. After a brief bridge where the sisters “doo doo wop” harmonies scale up a pitch,the chorus repeats as the drums,guitar and piano to a fevered frenzy before fading down for the piano bring the song to an abrupt end.
One thing I love about this number is how it incorporates some of the static rhythm of reggae,itself a new and developing genre at that time,into it’s frenetic funk stew. The instrumentation of the song is pretty thick from the very start. But as the song evolves,the reverb and some more rocking guitar layers really thicken right up. In a more stripped down sort of way,this has a somewhat similar reggae/funk/rock approach that could be found a year later in the Rolling Stones “Hot Stuff”. Ruth’s voice has a power and elasticity that’s ideal for uptempo material. And she truly shines as the vocal lead on this example of musically powerful and lyrically assertive funk.
Filed under 1970's, Allen Toussaint, Anita Pointer, Bonnie Pointer, drums, Funk, Funk Bass, funk rock, June Pointer, Pointer Sisters, reggae funk, Ruth Pointer, Uncategorized, wah wah guitar, Wah Wah Waston
Etta James has one of the biggest voices,both literally and figuratively among the female blues and soul vocalists of her day. She was also a survivor. As much as many writers tend to literarily paint black artists of her day seem as if they lived within impenetrable emotional armor,Etta survived by being able to an occasional gentle laugh at some of the troubles that marred most of her life. As what could be described as a prime example of the Silent Generation OG figure at Chicago’s famous Chess Records,changes in music over the decades seemed to roll off of her. Not to mention the musicians and producers who helped her creatively reshape herself.
One of the saddest legacies of Etta’s life was the fact that so much of it was marred by periods of substance abuse. First it was heroin throughout the prime of her career. Than an addiction to prescription drugs in her final years. On the other hand,she almost always looked her best and gave her best performances outside of her personal situation. Following a 1970’s spent in and out of rehab, Etta transitioned in the next decade by teaming up with the recently passed New Orleans writer/producer/performer Allen Toussaint for her 1980 album Changes. The album begins with a bang right out of the box with “Mean Mother”.
That snarling,high pitched rhythm guitar wail that introduces many classic funk grooves gets this one going along with a powerful drum kick. Then the percussion accents kick in with thick sustained Clavinet riffing,blocky acoustic piano and the massive deep bass line holding everything up comes into play. On the rapped intro of Etta’s the drums are subordinated to the percussion. On each chorus,her vocals are accompanied by scaling down horns-which call out from the bottom up on the end of each rhythm statement of the song. The opening guitar snarl also takes a similar position on the last couple choruses of the song before it fades right out of earshot.
Etta James made some magnificent uptempo grooves and ballads over the years. The advent of funk in the 70’s seemed almost tailor made for her deep,resonant growl of a voice. This instrument of tough control and sophistication gets all it’s assistance from this song which showcase how funk is often blues played with a raw rhythm attitude instrumentally and a clean sound to top off on. The thickness of this groove is very similar in flavor to Gil Scott-Heron’s “Shut ‘Em Down” of the same vintage-only minus the synthesizer touches. It’s tale of living as “a child of god born to a family black” extends on the ever present soul power she possessed.
Filed under 1980's, Allen Toussaint, Chess Records, Chicago, clavinet, drums, Etta James, Funk, Funk Bass, percussion, rhythm guitar, Uncategorized