Tag Archives: ARP synthesizer

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.

 

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Anatomy of THE Groove: “All Out” by Edgar Winter

Edgar Winter is one of those artists whose musical arc I had extremely wrong most of my life. Knowing him only for the songs “Free Ride” and “Frankenstein” (which both come from the same album by the way),had him pegged as a progressive minded Southern rocker. Upon purchasing his debut album Entrance a decade ago,it introduced me to one of the most talented and musically distinctive artists this side of Prince,Todd Rundgren,Brian Wilson and even Miles Davis. His mixture of European classical,jazz,soul and blues instrumentation and harmonies made it quite a listening experience.

With The Edgar Winter Group he,Dan Hartman and Rick Derringer did indeed tend to explore their rockier side. He also had a band called White Trash who,on two occasions dealt with Winter’s gospel/funk/soul/blues side more. Much as with The Rolling Stones, Winter felt a deep affinity with black American music. And like the Stones,his music also evolved along with black American music in the 70’s. His next “solo” album was 1975’s Jasmine Nightdreams. This album was more a mixture of styles. And one song in particular that leaped out at me is entitled “All Out”

A drum roll quickly gives way to a slow shuffling swing. Winter than solos on the ARP synthesizer on a jazzy horn like melody before going into a solo on the ARP doing the refrain that improvises heavy on the 12 bar blues primarily. On both occasions,its backed up by a phat Moog bass playing an upfront descending line similar to what the upright bass would normally play. Winter takes off improvising the melody on sax before doing the same with his flamboyant,rangy scat singing. The choral theme repeats for a bar before the piano/synth arpeggio that segues into the next song.

Hearing this all out bop jazz number reminds me somewhat of how people like Thelonious Monk might’ve updated their distinctive style in the 70’s-with electronic instruments playing the roles the bass and organ normally would’ve. With a sound that suggests Winter likely played most of the instruments on this song himself,his improvisation of melody and spirited instrumental/vocal performance really showcase what a strong musician/composer Edgar Winter actually is. And having the understanding to have players in his circle who could help him flesh out his musical ideas even more so.

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

songs-in-the-key-of-life

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

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

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

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


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

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

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

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

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

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

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

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

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


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

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

 

 

 

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

Anatomy of THE Groove: “Nobu” by Herbie Hancock (1974)

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Herbie Hancock’s 1973 number “Chameleon”was not only some of the first funk I ever heard. It was one of the very first songs I remember hearing at all. With each passing year,Hancock’s music has always been representative to me of new musical discoveries. From funk to disco to electro. After listening to him for years,it became clear fairly early that Hancock shared one creative quality with his mid/late 60’s musical boss Miles Davis. And that was that Hancock has had a number of distinctly different musical periods in his now 54 year strong recording career. In terms of over-viewing his career here,it seemed fitting to explore some of these periods’ lesser known innovations he helped to spearhead.

On July 29th,1974 Herbie Hancock recorded his sixteenth studio album live at Koseinekin Hall in Tokyo,Japan. The album was released only in Japan on the countries’ CBS affiliate. The album was divided  between four songs. The first two were performed acoustically and the final two would be performed electrically. Being this album would be sandwiched between Hancock’s two major funk breakthrough’s in 1973’s Headhunters and it’s followup Thrust from later this same year,this album entitled  Dedication received little attention at the time of it’s release. But one song on the album was one Hancock had never performed previously. It was called “Nobu”.

The song opens with a brittle,staccato Arp Odyssey provided the songs central rhythm. Then the ARP String Ensamble fades in with it’s otherworldly orchestral tones. Hancock provides to different musical lines with his Fender Rhodes on this song. One is a bluesy bass line that pumps hard up under the song. The other is a mid to high toned solo that plays some often spiraling melodic improvisations. Towards the middle of the song,this Rhodes solo becomes more rhythmic in tone. As the melody again becomes a prominent part,the ARP strings returns as Hancock’s Rhodes turn to an echoing dewdrop sound before the song reaches it’s end with a bang from the string ensemble and the Rhodes.

Many people (including myself) think of Herbie Hancock’s fully electro funk period at beginning with his work with Grand Mixer DST and “Rockit” in 1983. Even though it wasn’t heard stateside at the time,Hancock’s electro funk revolution actually got it’s start right here on “Nobu” in 1974. And it’s electro Afro-Funk at that. The ARP Odyssey Hancock uses for the rhythm of this song has a more percussive than a drum like tone. And therefore the flavor it creates is of a far more tribal nature than any early drum machine could create. So by fashioning futurist Afrocentric electro funk,Herbie Hancock was at this point already a decade ahead of his time.

 

 

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Filed under 1974, Afro Funk, Afro-Futurism, Afrocentrism, ARP synthesier, electric jazz, electro funk, Fender Rhodes, Herbie Hancock, jazz fusion, Uncategorized

Anatomy of THE Groove: “Livin’ In The Life” by the Isley Brothers

The Isley Brothers embody a very special quality for me. They have and continued to function positively as a bi-generational family soul/funk group. Due to changes in music from the 50’s to the 70’s,this quality didn’t always make for personal harmony between the elder and younger sets of Isley brothers. But it did make for some amazing hybrids of soulful harmonies,rocking solos and funky rhythms during their 70’s period. By the time of the bands 1977 release Go For Your Guns,Ron Isley’s focus was geared more towards singing the groups ballad material. As for younger members Ernie Isley and cousin Chris Jasper,they continued to innovate the bands funk/rock hybrid as time marched along.

The last two tracks on the Go For Your Guns album were somewhat companion pieces. The first was called “Livin’ In The Life”. It featured Ron Isley on lead vocals-singing in the lower end of his range. The last song on the album was the instrumental title track of the album. This featured the guitar solo of Ernie Isley. Ernie was the composer of both tracks and played drums on each of them as well. The song was actually a huge success for them as a top 10 R&B hit and landing directly into the pop Top 40. When I first heard this song during the frightening Maine ice storm of 1998,it made a huge impact on me across a number of levels. And it’s an Isley’s song I’ve always wanted to break down musically.

The groove gets going with Chris Jasper playing a brittle guitar like riff on his ARP synthesizer-multi tracking with himself on the first couple chords while Ernie’s drumming clips along at 125-130 BPM. After a brief three beat hi hat call off,the clapping snare drums kick into gear along with Ron Isley’s lead vocals and Marvin bass line,which functions in an equally brittle manner to the lead synthesizer riff. On the gospel powered melody of the chorus,Jasper’s synth solo becomes more solid and orchestral before going back to main them of the song. As the song fades out,Jasper adds deeply bassy bursts of synth along with Marvin’s line adding that abruptly closes out the song.

Even 18 years after first hearing it,there’s no denying the power of this song on this end. In terms of composition,it takes the bluesy refrains and testifying gospel soul choruses and amps it all up. The echo plex and heavy steeliness of the production gives this the 70’s arena rock equivalent to what Rick James would soon be doing with his “punk funk” sound. In a lot of ways,this finds the Isley Brothers pretty much perfecting their funk/rock hybrid. The reason for that is finding where the blues can intersect those two rhythmic ideas. And that makes Ron’s assertive,empowering lyrics all the more appropriate to Ernie’s hard driving instrumentation and production.

 

 

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Anatomy Of THE Groove For The Brothers And Sisters Who Aren’t Here: “Spock Does The Bump At The Space Disco” by George Duke

In a lot of ways, the song being presented here today represents the passing of two great and different artists whom I admire. That was the actor Leonard Nimoy from Star Trek,who passed last year and the jazz pianist George Duke-who left us four years ago this coming august. It was about a dozen years ago now that I became very immersed in all things related to George Duke. This was thanks in part to my acquaintanceship with DJ/musician/Duke aficionado Nigel Hall. This led me to George Duke Online. It was on this site that George actually reviewed his own discography. This allowed people such as myself to get inside the man’s views on his own musical past.

In the early/mid 70’s during his tenure with Frank Zappa, Duke signed a solo deal with the German jazz label MPS. When he departed the label to sign with CBS/Epic in 1976, he recorded what amounted to a solo piano album where, with the help of Genesis drummer Chester Thompson, Duke played other instruments as well. It was released in America in a slightly altered form in 1982. But throughout most of Europe in 1978 as the now quite rare record entitled The Dream. The song I’m going to talk to you about today is one whose sound and title were originally quite different from the early 80’s variation. The name of the original song was “Spock Does The Bump At The Space Disco”.

Duke starts off the song with a lone funky drum-accented by a percussive bump on between the first and second beat. Starting with some of his own grunts and groans, Duke’s low piano than comes in playing the songs bluesy theme along with a distant, popping bass ARP synthesizer in the back round. A huge,deeply popping slap bass chimes in along with another theremin like synthesizer solo pipes up in the back round. Duke’s Fender Rhodes electric piano than comes in playing an accessory solo. By which time all the instrumentation that built up from the beginning of song all comes together beautifully before the song ends on a three note slap bass riff.

George Duke was the man behind some of the most potent and experienced funk that the jazz world had to offer from the early 70’s up until his death. And in every possible way? This song is among his very funkiest. It falls somewhere between the stripped down funk of Rufus and Prince. The one man band that is George Duke on this album does something fairly unique. Though multi tracked in creation? This groove showcases Duke’s experience as both a session player and band leader by being able to play off his own instrumental strengths and weakness. It does in fact sound like a band playing together-with the pianos and synthesizers creating a thick bed of funk one can always swim deeply within.

 

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Anatomy of THE Original Super Heavy Funk: “Tis Your Kind Of Music” by Graham Central Station

Welcome to this first ever volume of Anatomy of THE Original Super Heavy Funk. This (so far) bimonthly segment is going to be devoted to classic songs in the jazz/funk/soul spectrum from the 60’s and 70’s. It was first conceived by friend and blogging partner Henrique Hopkins. It started to make sense,with this blog’s emphasis on newer grooves,to begin exploring their points of origin in a more in depth kind of way. Decided to take on this idea for now while I am flying solo with Andresmusictalk for a little while. In the spirit of my concept on writing about songs from the classic funk era that are lesser known? I’ll start the concept with one of my personal favorites.

Larry Graham was in a very interesting position during the first few years of his band Graham Central Station. Sly & The Family Stone were still operating and even having hits. So the two,with Larry being the connecting thread to both,were at this point very much in tandem. Larry’s own take music was on a very uptempo gospel oriented type of funk built around the interaction between keyboards and this iconic,thick slap bass playing. For the bands second release in 1974’s Release Yourself, the band forged ahead heavily into an instrumental direction that Sly actually began but which GCS were already about to take to the next level. And for me at least? The crowning achievement of this was in the song ‘Tis Your Kind Of Music”.

The song begins with a nasal burst of ARP synthesizer from Larry himself,which melds into pulsing bass tones playing the counter point to the main theme.All along with the pulsing burble of Patrice “Chocolate” Bank’s organ drum programming. After a bar of this,the synthesizer begins playing a staccato type of bluesy lead line-with a string synthesizer orchestration backing it up and the electric piano of Hershall “Happiness” Kennedy playing the different changes. Chocolate sings the first vocal verse of the song in her deep,thick churchy gospel wail-trading off with Larry’s deep bass voice on each refrain. Each of which is followed by a repeat of that second instrumental verse. The song closes out out with a band unison vocal of the songs title-sang as an exploratory chant.

On the very first time I heard this song? It’s instrumental boldness absolutely blew me away. Realized it would be a song I’d be learning from for years to come. And it has been for sure. Most importantly? It brings up a matter Henrique and I have recently been discussing about the pan ethnic forms of music. In fact,it’s very possible to have a situation on many songs with Afrocentric structure but European content. And vice versa. This is a song of a type that,very much in the original spirit of the Family Stone,blows that ethic right out of the box. It not only presents an almost totally electronic mix of still very new synthesizers and drum machines. But also does so with European classical orchestration,spiritual/gospel melodicism (especially on the vocal arrangements) and that heavy jazz oriented funk grind in terms of how the instruments themselves are played. In many ways? This song represents what the entire 70’s “united funk” age meant at it’s absolute,and most futurist pinnacle.

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Filed under 1974, ARP synthesier, classic funk, drum machines, Funk, Funk Bass, Gospel, Graham Central Station, Larry Graham, Sly Stone, synth funk