Tag Archives: boogie

Anatomy of THE Groove: “Can You Feel It” by The Jacksons

The Jackson’s were already prepping for their second album self written and produced in June of 1979-just when the finishing touches to Michael Jackson’s Off The Wall album were being completed. It made sense then that musicians such as Michael Boddicker, Jerry Hey and Paulinho Da Costa played strong instrumental roles between both albums. The Jackson’s Triumph  album turned out to be no mere extension of MJ’s swiftly developing solo music. It was one of the most truly collaborative albums they made together. With Michael, Randy and Jackie Jackson being its creative triad.

Each member of the family played a different part. Michael and Jackie contributed much in the way of songwriting. While Randy did the same with more instrumental touches as well. The brothers fully flowered independence earned them their most successful album in nearly a decade-both in terms of critical acclaim and commercial status. I’ve had a decades long relationship with Triumph now. And had actually grown up on a truly epic video to very musically like song that turned out to be the opening track of the album. The name of this song, of course, was “Can You Feel It”.

An enormous adult choir sings the songs chorus acapella for the intro. This is arranged masterfully by the talented vocalist/vocal coach Stephanie Spruill . The horns kick into the disco march that makes up for the refrain of the song. And also its central rhythm as well. Ollie Brown holds down the 4/4 beat to perfection. Nathan Watts and Ronnie Foster play a conjoined, clomping bass line. The string and horn melodies go right into Randy’s vocal intro. On the chorus, another drum is added for funkier sound. Along with David Williams chunky, reverbed guitar while Michael sang lead. With flourishes of synths and a choral bridge, the orchestration fades the song out.

Musically “Can You Feel It” starts Triumph off in a manner that would follow it through the entire album. That is showcasing disco’s roots in the cinematic soul/funk of the early 70’s. All wrapped up with a more electronic boogie/post disco twist. As for the songs Utopian message? Its tempting to view its plea that “we’re all the same/ the blood inside of me is inside of you” as being Michael and Randy being a bit removed from earlier civil rights struggles generationally. Yet the general message of seeing racial difference as positive is at its core. And its all pushed forward by a dynamic musical offering.

 

 

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Anatomy of THE Groove: “Sunset Driver” by Michael Jackson

Michael Jackson began the sessions for Off The Wall, his first solo album produced by Quincy Jones, with the idea that he wanted to separate his adult solo career from what he’d been doing with his brothers. This was a concept he’d already pursued on their previous album Destiny from one year earlier. Talking with my friend Henrique, the then current sound of Barry White interested MJ in 1979-his album The Man and its emphasis on live horns and strings. That is the direction he pursued on the finished album. Early on in the sessions however, the music MJ and Quincy were making was slightly different.

Of course, instrumentally the same West Lake studio crew that worked on this album also played on the Brothers Johnson’s Light Up The Night. That album was recorded during the same time as  Off The Wall, but was released in 1980. So musicians such as Greg Phillinganes, Paulinho Da Costa, Jerry Hey, Rod Temperton and Toto’s Jeff Porcoro likely switched off from one album session to another. Since  Light Up The Night has a more electronic flavor to its grooves, it doesn’t surprise me too much that an early song from the Off The Wall sessions has a similar flavor. And it was called “Sunset Driver”.

The intro features what sound like higher pitched synth horns followed along closely by the drum-beat by beat. The drums then settle into a straight up disco friendly dance beat pounding away. The melody is led by a thick polyphonic synthesizer, with a pumping synth bass underneath it. Chucking right along with it is a scratching wah wah guitar. On the refrains of the songs, the string arrangements ascend and descend with MJ’s vocals. On the choruses, the strings sustain along with the lead synth. On the bridge, the lead synth goes into a more descending pattern before an extended chorus fades out the song.

Upon hearing it shortly following MJ’s passing eight summers ago, “Sunset Driver” emerged as an unreleased song I had trouble placing into MJ’s vast recorded catalog. Its a lot closer to the post disco/boogie funk of a Brothers Johnson song such as “This Had To Be”. Especially with the synthesizer being a far more significant element than it had been on the final cut of Off The Wall. Still with MJ’s dialog near the end of the song saying “that’s it Jerry,that’s nice”, its clear now that this shows MJ in a different and cutting edge electronic dance/funk flavor at the beginning of his adult solo career.

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Anatomy of THE Groove: “Street Kids” by Kool & The Gang

Kool & The Gang’s period of being produced by Brazilian jazz funk Eumir Deodato represented the third stage of their musical evolution. The Jersey band started out with their heavy jazz funk style of such albums as Wild & Peaceful and Spirit Of The Boogie.  Than they made a series of albums that reflected a growing disco funk vibe from Open Sesame on through their first Deodato production in 1979’s Ladies Night. After that, the band embraced a more post disco/boogie funk oriented sound with radio friendly pop elements. By the mid 80’s, the band were basically radio friendly dance pop.

Dealing with K&TG as album artists in the early 80’s was a daunting task for me,having long accepted them as a singles act during that era. One day while looking through the cutout CD bins at a record store called Strawberries in the mid 90’s, I came across a K&TG album from 1982 entitled As One. I recognized the song “Big Fun” on it. And was happy to be able to hear it on the car CD player on the way home. The very first song that played upon popping it in helped me to really understand K&TG’s 80’s funk variant very well. And the name of this particular song was “Street Kids”.

George Brown’s drum kickoff begins the song before he puts himself into an in the pocket dance friendly beat for the remainder of the song. Deodato’s bubbling synth bass then proceeds to play call and respond to a two note synth-likely an OBX played by Ronald Bell. On the chorus, JT Taylor’s falsetto vocals play to the tune of Charles Smith’s liquid rhythm guitar-along with the bands powerful and melodic horn charts. There’s a B section with a sustained orchestral synth plays in the back round. This repeats somewhat later in the song as an extension of the chorus,which fades the song out in the end.

“Street Kids” is, to me, a superb example of Kool & The Gang adapting their sound for the post disco/boogie era. The horns,guitars and drums are still all the way live. But orchestral and bass elements are now electronic. The lyrics about street kids who “like to play Captain Video” and “doing the motor roller” go right with it. And the groove itself is squarely in the classic funk framework-right in the pocket and right on the one. JT Taylor has a tremendous vocal showcase here. You get his usual smooth tenor, his breathier falsetto and even his rapping. Part of a strong post disco reboot for this iconic funk band.

 

 

 

 

 

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Anatomy of THE Groove: “Together We Can Shine” by Linx

Linx were a a Brit funk/soul/disco group with a rather short lived career. It was a six member band featuring keyboardist Bob Carter, drummer Andy Duncan, guitarist Canute Edwards, bassist Peter Martin,backup vocalist Junior Giscombe and lead singer David Grant. The group split up in early 1983-after Junior had left to begin a solo career and Grant was about to do the same. After a moderately successful solo career, Grant became a successful backing singer for people such as Rick Astley and The Lighthouse Family. He later became a judge on the UK TV show Pop Idol with his second wife Carrie.

Linx recorded two albums during 1981, the first of which I picked up four years ago on vinyl. Their major hit on it was “Intuition”, a Caribbean flavored post disco number became popular to its accompanying music video being played so often on the British music program Top Of The Pops. And all due to a technicians strike. The overall album is a superb example of how the post disco/boogie funk sound thrived,prospered and evolved along with new romantic/synth pop during the early 80’s. One fine example of this was the song “Together We Can Shine”.

A dance beat begins the song with a pulsing Fender Rhodes and a bluesy funk rhythm guitar break. As the main song kicks in, Martin’s slap bass line kicks in heavy. The dance beat becomes more steady. Carter adds spacey synthesizer flourishes-which become very high pitched on the choruses along with the melodic, liquid rhythm guitar bubbling right along. On the bridge of the song, the vocals of the refrain move aside for Carter’s piano solo before Grant’s vocals return. Before the fading refrain, the song breaks off into a percussive Brazilian funk breakdown.

Musically speaking, “Together We Can Shine” showcases the vitality and diversity within the UK post disco/boogie scene. Many American groups/ soloists  emerging from that were primarily disco and funk based from the get go. In terms of Linx, its a different story. Bob Carter and Canute Edwards play in a manner very indicative of jazz oriented instrumentalists. Bassist “Sketch” Martin and drummer Andy Duncan have a strong Brazilian funk flavor to their playing. So this song is a superb example of the post disco sound coming from a diverse level of musicianship from the sound of things.

 

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Anatomy of THE Groove: “Heartstroke” by Calvin Harris featuring Pharrell Williams,Ariana Grande and Young Thug

Calvin Harris is yet another example of a European DJ/producer/multi instrumentalist in the 2010’s who have wound up keeping strong funkiness in their club oriented music. As a matter of fact, many of them (Harris included) have taken many contemporary singer/performer’s along for the ride with them. Hailing from Dumfries, Scotland, Harris is the son of a biochemist. Calvin himself had a very working class trajectory after high school-working odd jobs to buy DJ gear to develop his craft further.  By 2011, Harris was working with pop artists such as Rihanna. And had several major albums on his own too.

Last week Harris, whose generally EDM based releases have generally veered about as far as nu disco in the past, released his fifth studio album entitled Funk Wav Bounces Vol.1. It is his first to include no instrumental pieces. And is heavy on collaborations with contemporary singers and rappers. The album first came to my attention riding around town with my mom and hearing the song “Feels” from it on the local new music radio. Very much enjoyed it but upon listening closer, I found Big Sean’s language in it too profane. On the song I’m doing today “Heartstroke”,its a somewhat different story.

A cymbal and jazzy electric piano melody opens the album,with Pharrell Williams deepened voice being soon joined by light percussion and rhythm guitar. When Young Thug’s lead vocals coming,the songs post disco beat and grinding,popping bass line comes in to join it for the first verse of the song. Pharrell joins Young Thug in call and response harmony on the choruses. The song changes octave a bit when Ariana Grande comes in as vocal lead-again duetting with Pharrell. After a bridge with a more sustained synthesizer part, it all fades out on a psychedelic Latin funk wah wah/percussion tone.

What “Heartstroke” actually does musically is very interesting. It showcases the most condensed groove present in the (in its day) somewhat necessitated lower budget of early 80’s post disco/boogie music. Yet it also has some the jazzy electric piano and Brazilian style percussion flavors of late 70’s jazz funk. The type that found its way into Quincy Jones’s late 70’s/early 80’s productions as part of the “LA sound”. Young Thug’s language has its issues here for sure. But he presents it with a Jamaican dancehall style vocal that makes this a strong mixture of older and newer funky musical ideas.

 

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Let Me Know You: Stanley Clarke’s Unsung Second Solo Album Of The 1980’s

Let Me Know You

Stanley Clarke was a musician whose solo albums of the 1970’s were always talked about. Yet there was one album that hardly ever did-only occasionally as a mentioned titled in some discographies of his music. It was his 1982 album Let Me Know You. First I found the album on vinyl,then picked it up on CD. Then realized why it might’ve been left out. This is basically a full on post disco/boogie album from Clarke-featuring the likes of Greg Phillinganes and Paulinho Da Costa among the musicians. Here’s an Amazon.com review I wrote just over a decade ago that goes more deeply into its musicality.


Right after the release of the first Clarke/Duke Project LP Stanley Clarke and George Duke both decided to take a musical break from each other and do a pair of solo albums without the participation of the other.Duke produced ‘Dream On’ while Clarke produced this album ‘Let Me Know You’,both in 1982.Both albums are very much funky pop/R&B vocal albums with some curious differences.’Let Me Know You’ is the slightly more jazz oriented of the two and as always,Clarke is not quite as experienced (or communicative) as Duke.

The songwriting is extremely strong and three “Straight From The Heart”,”I Just Want To Be Your Brother”,”The Force Of Love” and the pounding “New York City” find Clarke moving away from hardcore jazz-rock fusion and into the world of tighter,more carefully crafted and arranged R&B,funk and pop.The sexy title song is actually the only instrumental on the album and is the only representation of the ‘old’ Stanley Clarke.

My favorite cut is the Linn drum/Leslie Amp powered “Play The Bass” the more or less trails off before it get’s a chance to get going-it’s funny how many R&B and funk artists elect to showcase some of their most creative music as brief interludes (read:Earth Wind & Fire).Nevertheless ‘Let Me Know You’ is a wonderful pop/funk album and actually one of Clarke’s most consistently enjoyable of the early 80’s.

Trouble is it’s also his only record never to have been released on CD up until now.And while I am sure that many like myself who have enjoyed listening to the vinyl record of this album the new CD is a treat.But I really hope fans of Clarke or the Clarke/Duke Project will revisit this if they’ve never heard it-fans of both artist’s music from the 1980’s will feel right at home.


Let Me Know You comes from a time where Stanley Clarke was looking to condense his music to a degree. He actually managed to solo many times on these songs. That being said,, this album had him striving ever more to look towards gaining momentum as a composer as opposed to mainly an instrumental soloist. He even got a bit of a dance hit with the album with the song “Straight To The Top”. Once heard Clarke himself refer to his music at this time as “pretty commercial”. But its still by no means a Stanley Clarke album to avoid. Especially if you enjoy funk that where’s its jazziest flavors proudly.

 

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Anatomy of THE Groove: “High Hopes” by The S.O.S Band

The S.O.S Band (standing for “Sound Of Success”) was originally formed in 1977 in Atlanta,Georgia. They were originally named Santa Monica, but later changed their name. Clarence Avant was impressed enough with the bands demos to sign The S.O.S Band to his label Tabu in the late 70’s. Tabu would shortly become known for being among a series of independent black owned labels (such as Solar),inspired by Motown, which focused on R&B and funk acts. And S.O.S Band became a flagship act for Tabu with their self titled debut album in 1980 and its smash hit “Take Your Time (Do It Right)”.

After S.O.S’s second album Too,a creatively strong record focusing on message songs and even a jazzy instrumental,didn’t do well commercially the band turned to Rickey Sylvers to produce their third album. This album was called III. This album generally found The S.O.S Band moving towards a more synthesizer based sound-as opposed to focusing on the rhythm and horn sections. One song on the album is noted for being the first outside production for early Time members Terry Lewis and Jimmy Jam,celebrating a birthday today. The name of this song was “High Hopes”.

A fairly slow drum beat and a 5 note slap bass line provide the intro to the song. As the intro progresses,a low 16 note rhythm guitar becomes part of the mix before a brief drum march inaugurates the main theme of the song. This represents both the chorus and refrain of this song. This adds two main synth parts to the song. One is a textural pad ,the other is a high pitched, more brittle new wave style arpeggiated line. Each respond to the other. After each section there’s a synth/drum breakdown. The bridge breaks into to intro with an added rhythm guitar before the chorus fades it out.

“High Hopes” brings together the sleek new boogie/post disco variant of S.O.S Band’s evolving funk sound and the more condensed approach of Minneapolis. The instrumental production of the song is stripped down. Yet the polish of an experienced live band defines the slinky groove Jam & Lewis wrote and produced for them. While this production would be part of a series of events that wound lead to Jam & Lewis being thrown out of The Time,it would begin their career as THE production team representing twin city funk for the rest of the 80’s.

 

 

 

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Anatomy of THE Groove: “Pilot Error” by Stephanie Mills

Stephanie Mills is an artist who I knew primarily through consistent name dropping-all before delving deeper into her music in the last couple of years through used vinyl. This Brooklyn native began her career as a Broadway stage actress at the age of nine in Maggie Flynn. As an actress her most famous role of course was as Dorothy in the stage production of The Wiz. While her rangy,gospel soul belt of a voice she seemed to be natural for recording. Yet her early to mid 70’s album releases were not very successful for her. This all began to change during the disco era.

After 1979’s “What ‘Cha Gonna Do With My Lovin”,Mills (one of a small minority of black American recording artists with black management,incidentally) began a winning streak that kept her consistently on the R&B charts and on DJ’s turntables on the dance floor at the exact moment disco transitioned into the boogie sound. One such album from this period was the 1983 release of Merciless.  Recorded at the height of the boogie/electro funk era,she began the album with a version of Prince’s B-side ballad “How Come U Don’t Call Me Anymore”. But one if its more defining grooves was the song “Pilot Error”.

A heavy drum and conga based percussion rhythm starts out the song unaccompanied. Then an synth riser that sounds simulating an airplane engine opens into the refrain of the song. This is that rhythm playing along with a snaky synth bass-with a popping rhythm guitar playing the accents. Another synthesizer plays some slightly jazzy harmony chords. On the choruses,the vocal aspect of the melody goes into a harder gospel vibe (complete with backup harmonies) and the percussion going up a bit higher in the mix again. The lead synth takes a solo on the bridge before the chorus fades out the song.

“Pilot Error” is one of the most masterful productions I’ve heard from 1983. It has elements of boogie’s use of synthesizer’s as orchestral elements for sure. But it also has that sense of arrangement and live percussion that defined the 70’s funk era. The Smokey Robinson like lyrical metaphors (which extend so well into its accompanying music video) also dovetail (pun intended) into the airplane like synthesizer effects. In terms of its arrangement and instrumental choices,this song is a strong candidate for the Top 10 grooves from the boogie/post disco funk era.

 

 

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Sister Sledge Album Review for Their First Decade: A Tribute To The Late Joni Sledge

Sister Sledge Albums

Sister Sledge were a Philly family group who still have their firm fan base of course. And I consider myself among them. Still,most casual 70’s music lovers know them primarily for “We Are Family”,”She’s The Greatest Dancer” and “All American Girls”. Those are three very noteworthy and important disco era songs to be known for. At the same time, the music of Debbie,Joni,Kim and Kathy Sledge had a huge impact both before and after their big crossover period in the late 70’s and early 80’s. The passing of Joni Sledge at the age of 60 a few days ago put me in the mind of doing this tribute to them in this way.

One of the most important things I ever learned about Sister Sledge,thanks to the Wounded Bird label’s reissues-as well as through the kind help via Twitter from the sisters on my overview here of their 1998 song “African Eyes” on this blog,that Sister Sledge were far more of an album oriented soul/funk/disco group than many may realize. So today,to celebrate the living Sledge sisters and the departed Joni,wanted to celebrate Sister Sledge’s first eight albums from 1975-1985 through my Amazon.com reviews of them which I’ve written over the last decade or so.


Circle Of Love/1975

In 1975 these teenage sisters cut this album. Kathy,Debbie,Kim and Joni sure have their sisterly harmonies down pat,and they know just what to do with their voices. The music on this album is definitely rooted in early-mid 70’s Philly soul and Motown The title track is a superb example-upbeat and catchy as they come.The same goes for the fairly funky soul of “Protect Our Love”,’Pain Reliever” and the clever closer “Fireman” with a really cool,eerie horn solo at the end.

One thing the Sledge sisters are intent on doing is is exercising their fine intervening harmonies on a set of finely crafted soul ballads very much in the Philly style too but also rooted in classic 60’s Atlantic soul-these songs truly make excellent use of the over 30 musicians (including John Tropea’s mildly psychedelic turns on guitar) who play on this album.

The lovely “Cross My Heart”,”Don’t Miss Him Now”,”Love Don’t Go Through No More Changes On Me” and “You’re Much Better Off Loving Me” will certainly please any fan of the soul balladry that was coming out of Natalie Cole and Aretha at this time but the vocals that these sisters thrown onto them are purely icing on the cake.

For fans of Sister Sledge during their Nile Rodgers/Bernard Edwards produced We Are Family era will definitely want to check out ‘Circle Of Love’.Not only does it show how Sister Sledge got started but showcased them in the days when disco was just starting to boil over and was still just under the ground;the Philly and (late day) Motown production used on this album are very much part of the disco-funk-pop sound that would soon make Sister Sledge famous.So this comes very highly recommended.

Together/1977

Well it’s 1977,Saturday Night Fever is out and the disco era is in full swing. On their second time around the Sledge’s have jumped ship to the Munich scene,but it’s not Giorgio Moroder and Pete Ballotte;they’ve hooked up with producers Michael Kunze and Sylvester Levay,who was also the keyboard and sax player on this album. So this album allowed them to not only stay contemporary and embrace eurodisco to a degree but also diversify their musical pallet. Unlike Circle of Love this album focuses on uptempo and dance tunes with a larger amount of variety.

The punchy “Blockbuster Boy”,two Stevie Wonder covers in “I Was Made To Love Him” and “As” as well “Moondancer” and “My Favorite Song” certainly fit right into the then highly popular disco sound and,as always,the sisters inject more then enough of their own personalities and spunk to give these tunes a timeless feeling. But the sisters also get down with some heavy funk-namely on Kathie Sledge’s self penned “Do The Funky Do”-with it’s punching keyboards and seriously deep beats it actually qualifies as a funk classic along the same lines as The Bar-Kay’s “Holy Ghost”.

They add a little more disco stylings to the same general pallet on “Funky Family”,which could actually be seen as a somewhat more rowdy and less tame prelude to “We’re A Family”.A cover of “Sneaking Sally Through The Alley” is with little doubt one of the funkiest things on this album,and his made even more of a surprise since the sisters didn’t alter the lyrics to a mans point of view as they did on their Stevie Wonder cover. One of the finest overall tunes here is “Can’t Mess Around With Love”-a Brazilian pop tune with a look and vocal very much out of the Sergio Mendes school.

The two ballads that are here “Hold On To This Feeling” and “Hands Full Of Nothing” even seem to have a more urban feel to them and a newfound sophistication. This would be their final album before the pair of Chic productions that would make the Sledge’s superstars and it will be obvious even on the first listen that the future starts here and the changes are coming fast.

We Are Family/1979

Isn’t it interesting that,after all these years of listening to and collecting albums by Chic and Sister Sledge alike,that this was the very last hole I had to fill in my collection of the latter. And it’s the album which contains the songs I personally identify most strongly with them. Recently? That changed on a family trip to Portland. I’d seen this album,even cheaply.

And still avoided picking the CD up. Lately it seems as if Nile Rodgers and the Chic Organization have again become the focus of funky dance music. And as another reviewer here pointed out? With their ability to work well with female singers? This 1979 represent something very important not just to the artistic collaboration. But to the musical era itself.

The uptempo songs on this album are classic Chic disco/funk classics-with their chunk style bass/guitar interaction and heavy strings that even somehow got transformed into a rhythmic element. That goes for the electric piano decorated “He’s The Greatest Dancer”,”Lost In Music”,”Thinking Of You”-with it’s opening percussion along with the bass/guitar duel and the closer “One More Time”.

Listening to the title anthem for an umpteenth time? This 8+ minute version stands out with an extended bridge showcasing Kathy’s gravelly,soulful voice calling out to Bernard Edwards for “more bass”-right in tune with the music. “Easier To Love” is a percussive mid tempo message song-asking for peace for over war (A LOT more complex an idea than it actually sounds) while the two ballads have their character.

“Somebody Loves Me” is classy and elegantly orchestrated. While “You’re A Friend To Me” takes that touch of class a notch higher with it’s dynamic,jazzy blusiness. While the two remixes of “We Are Family” and the one of “Lost In Music” are interesting in a percussive disco/house sort of way? The manner in which Nile and Nard simply expand the original music and vocal line of the latter on the 1984 remix really says more for what the song itself had to say from the get go.

The courser,soulful voices of Sister Sledge were probably the closest that Chic ever came to finding a group of female vocalists who had similar sounds to the women who sang in Chic themselves. And the excellent performances from the sisters,plus some of Nile and Nard’s finest material make this a disco era classic not to be missed out on.

Love Somebody Today/1980

This is Sister Sledge’s follow up to their massively successful 1979 outing We Are Family. Again Bernard & Nile are producing the their band Chic is playing backup-also featured,notably on the title song is Meco Monardo on sax. And the music is set firmly in their standing tradition of classy disco-funk grooves and punchy melodies. This album is home to some truly incredible grooves such as the title song,”You Fooled Around” and (my favorite) “Reach Your Peak”.

Another two great grooves are the funky “Easy Street” and the whimsical groove of “Let’s Go On Vacation”. On “Pretty Baby” the message of family solidarity is again re enforced and Kathie Sledge’s great singing really shows up in fine style on “I’m A Good Girl”.So musically this album is totally up to par. Non of the lyrics have quite the same punch as the first outings the Sister Sledge/Chic combo did and that might’ve played some part in the Sisters turning to Narada Michael Walden next time around,or maybe it didn’t I don’t know.

Either way this might be musically more artistic,with it occasional improvised sax solos from Meco then We Are Family was. But no matter how you cut it this was Sister Sledge’s final collaberation with the Chic family for a little bit. They would meet up with Nile Rodgers again later but this more or less concluded that period of their musical career.

All American Girls/1981

Jettisoning the Chic production team for Narada Michael Walden proved a pretty wise choice,considering the similarity in sound. The main difference is Narada and Sister Sledge were not out to create a samey disco album with arty flourishes this time. They were out to create a funky dance-rock album with a lot of variety and to a large extent they succeeded. The title song is a classic-VERY much Narada and very drum oriented nonetheless and very much in keeping with the hits Sister Sledge had with Chic,especially Randy Jackson’s wonderful bass “breakdown”.

“He’s Just A Runaway” is definitely the big surprise;more of a new wavish dance-rock number that really introduced Sister Sledge to the new decade with ease. This team of Sledge and Narada do not shy away from the mirrored disco ball here as “If You Really Want Me”,”Ooh,You Caught My Heart”,”Make A Move” and “Music Makes You Feel Good” certainly fit into that category. But the “bottom” on these songs is a bit phatter and therefore funkier. Disco is basically a form of lite funk anyway and this just really emphasizes that disco-funk hybrid a little more.

There is a peppy pop tune here in “Happy Feeling”,one of those little surprises commonly found on the best albums out there.”Next Time You’ll Know” and “I Don’t Want To Say Goodbye” are very nice ballads but really don’t need to be here;this album is really strongest when the tempo goes up and it would’ve worked just as well if a couple different kinds of uptempo songs were added instead of the ballads. Other then that I have no complaints.This is a great album in a string of excellent releases from Sister Sledge and we should all be lucky that it’s now out there again for us to enjoy.

The Sisters/1982

The year is 1982 and after being produced by Chic then Narada Michael Walden the Sledge’s decide to give a stab at the production themselves. The result is this very soulful album that,for the date is very strong based in late 70’s funk-pop and even makes a go of the gestating hip-hop movement with the super funky “Super Bad Sisters” featuring the sisters rapping very much in the Sugarhill style!”My Guy” is pleasant enough but doesn’t add much that Mary Wells didn’t to the original.

Much more unique are the original and somewhat experimental funk grooves of “Lighttfootin'”,”Get You In Our Love” and “Il Macquillage Lady”,all of which showcase the Sisters desire to make a detour from their patented disco-pop sound that made them stars and show they too could give up the funk with the best of them. There are a few great ballads here too,one of which is the mid tempo “Grandma”,very much in their tradition of celebrating family and how sometimes there is no school like the old school.

“Everybody’s Friend” is very reflective and features the creamy voiced Debbie Sledge singing lead. The album closes with the peppy “Jackie’s Theme:There’s No Stopping Us”,a great possible hit-that-never-was. This album will make you wonder why the Sledge’s didn’t produce themselves more often;they’d obviously absorbed everything they’d seen Nile Rodgers and Narada do in the past and found a style the they could work well with. This tends to be one of their more forgotten albums but it showed they did have a lot more talent then just their voices.

Bet Cha Say That To All The Girls/1983

On paper the collaboration of Sister Sledge and George Duke looked awfully good. Commercially this was a miserable failure despite the promise but that is not the case artistically. The guest list on this album is incredible:Michael Sembello,David “Hawk” Wolinski,Louis Johnson,Paulinho Da Costa,Jeffrey Osbourne,Al Jarreau and Ronnie Laws are featured.

But the focus is on the Sledge’s personality and Duke’s contemporary funk sound. “B.Y.O.B”,”Lifetime Lover”,”Shake Me Down”,the title track,”Gotta Get Back To Love” and “Thank You For The Party” are great uptempo tunes and not much I can think of shout ‘early 80’s George Duke-style pop/funk’ louder then these songs!

The ballads are also very trademark George Duke and everything even further removed Sister Sledge from their classic sound. Al Jarreau’s rapping and the cute lyrics of the title track should’ve spelled a great new beginning for Sister Sledge but it was not to be. The George Duke collaboration fizzled quickly and after this release Sister Sledge opted to return closer to more comfortable home turf.

When The Boys Meet The Girls/1985

It was ten years since Sister Sledge debuted with Circle of Love and five years since Nile Rodgers had spun pure musical gold with them.And fresh off of work on Chic’s unheralded Believer and Madonna’s blockbuster Like a Virgin Nile officially brings Sister Sledge into the mid 80’s with this album’s strong new wave funk overtones. The title song,”Dancing On The Jagged Edge”,”The Boy Most Likely”,”Following The Leader” and “Peer Pressure” capture that spirit which finds the flourishes of DX7 and Synclavier synthesizers colliding with live drumming for a sound that’s very MTV generation friendly.

“Frankie”,a bouncy little pop ditty makes a brief detour from this sound with a slightly more organic feel to it. Same can be said for “Hold On Poppy” and all the songs here are packed with unbeatable hooks and vocals. Strangely enough this never got a follow up for more then a decade;by 1985 Sister Sledge’s sound had been eclipsed by modern day female singers,some of whom were Prince proteges so the Sledge’s were starting to be seen as a bit over the hill. So again I am glad Wounded Bird reissued this and allowed this album to be enjoyed by a new generation who’ve been separate from it long enough to appreciate it’s charms.


Its amazing when running down Sister Sledge’s first run of recording just how much breadth and scope their albums covered. It ran the gamut from Philly soul,funk and disco in the mid to late 70’s to the ever evolving post disco,boogie and electro sounds of the early to mid 1980’s. As with any artists,there were peaks and valleys throughout this time. All the same,felt Sister Sledge don’t always get their due for their longevity and relative consistency in their first decade. For sure that period invited it. Still,it couldn’t work without talented people. And wish to thank the Sledge’s for the contributions to that era.

 

 

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Anatomy of THE Groove: “Cloud 9” by Jamiroquai

Jamiroquai were a band who,two decades ago now,were the musical lifeblood of my personal interest in funk and disco. Its a story that’s been told on this blog at least once. They’ve had their lineup changes over the years for sure. Even still over the years,their mid to late 90’s albums are ones that I still continue to return to many times. As a matter of fact,they tend to define how how I view the contemporary nu funk movement as a whole. That being said,never been one to give into blind idolatry of any musical figure either. And Jamiroquai have been no exception to that rule.

Following their (unintended) 9/11 release of A Funk Odyssey, Jamiroquai album releases became less and less frequent. Albums such as 2005’s Dynamite were promoted with the over modulated hip-hop influenced single “Feels Just Like It Should”. And with their 2008 album Rock Dust Light Star fading seemingly as quick as it came, Jamiroquai seemed to have faded into the annals of the past. Early this year,they announced the release of their 8th studio album Automaton.  The title track was released first. But this EDM influenced song didn’t speak so much to me as the newest lead off single from the album “Cloud Nine”.

A deep piano chord,an ethereal synth and vocal pulse provide the intro to the song. A string burst opens into the refrain of the song. This consists of a thick disco beat-with a polyphonic synth playing the lead melody. And assisted by a pulsing rhythm guitar and bubbling synth bass line playing the higher ends of the changes. The rhythm guitar and bubbling bass are higher in the mix on the choruses-along with the string burst that leads into the heavily echoed bass/synth line on the bridge. The refrain and chorus are lightly improvised upon until it fades-accompanied by a jazzy synth solo before it ends.

“Cloud 9”, as far as I’m concerned ,is Jamiroquai’s strongest single since “Little L” came out 16 years ago. It showcases the band moving in their own career arc much the same as funk did during its first generation. Much as Jamiroquai were a live percussion/horn based jazz/funk band with extended jams and instrumentals when they started out,they are now a post disco/boogie funk group with strong jazz/funk melodic influences by the time their 8th album is about to drop. Only the future can tell if Jamiroquai’s future is going to remain in this strong progression. But “Cloud 9” is an excellent step in this direction.

 

 

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