Prince’s expanded edition of his breakthrough album Purple Rain is said to have been the last full musical project he ever worked on. My former blogging partner Zach Hoskins went into beautiful detail on the early reported contents of the album. There is one aspect to this 1984 album I brought out before though. The original albums contents,even according to some members of the Revolution,was a new wave dance/rock album with very little funk or soul influence. With the inclusion of vault material recorded during these sessions, the expanded addition of Purple Rain has changed that.
In August 1984, Prince recorded an 11+ piece just two days before “The Screams Of Passion”,which would eventually be given to The Family. Its been said Prince gifted the song to Andre’ Cymone after his mother asked him if Andre’ could record it-Andre’ apparently being “too proud” to do so. Andre’ then recorded his vocals for the song and released it on his AC album in 1985. It became a major success for Andre’. For years, Prince enthusiasts I’ve talked to have been hoping to hear Prince’s original version of the song. And now they can. The name of this song,of course is “The Dance Electric”.
A thick set of combined Linn Drum rhythms-filled with Minneapolis style flanger,shuffle and echoed claps begins the song cold. No decisive intro. And it stays there for the entirety of the song. Each clap is accompanied by a round synth bass tone. On the first chorus, high pitched and brittle synth strings are accompanied by a wiry wah wah guitar and laser beam like space synths moving between each segment. Every few choruses, the song strips back down to the the drum and synth bass intro. On the bridge,the laser synths and rhythm guitar take precedence before the extended chorus fades it all out.
There’s a distinct possibility that “The Dance Electric” is the most powerful piece of funk to emerge out of the sessions for the Purple Rain. I have no doubt Prince had every intention of releasing his version,even as a B-side,if his childhood friend hadn’t asked for it. The song is reminiscent of Alexander O’Neal’s 1987 number “Fake”. The overall rhythm of the groove is a punishing kind of funk. Its an end of the Minneapolis sound that finds the one right off. And lets that take the song exactly where it wants it to go. Its a great funky delight to hear Prince’s version of this officially available now.
George Michael celebrated his first posthumous birthday yesterday. His death came very sadly and suddenly on Christmas day last year. Since that time,I have learned (along with my boyfriend) just to how important George Michael and Wham were to the post disco UK dance/funk/soul scene of the 1980’s. Wham were one of the “big four” bands on the UK’s major music program Top Of The Pops. As for Michael’s solo career, it operated from 1987 through 1991 before his record company conflict began. Yet that five years had Michael as part of a huge growth period for cutting edge,funky dance music.
His final single before these record company conflicts was originally recorded for his sophomore solo album Listen Without Prejudice Vol.1. It eventually ended up being released for the AIDS charity CD entitled Red Hot+Blue in 1992. All the proceeds from that and Michael’s accompanying single went to HIV/AIDS related causes. It was also Michael’s first extensive use of sampling-from sound clips from The Graduate and The Tony Hancock Show to a sample from Jocelyn Brown’s “Somebody Else’s Guy”. The name of the George Michael song that did all these things was “Too Funky”.
A fast electronic piano drum rundown introduces the song. Its a thick,slow drum machine rhythm with some shuffling, Brazilian style conga/percussion accents. The melodic body of the song is a round,five note synth brass part-along with pulsing electronic strings and like minded bass line. The piano/bass/drum interaction make up the refrains. With each choral variation, the synth brass returns and varies in tone. After a bridge that condenses the song down to the drums and bass line,the chorus fades the song out to a close with the piano part and the final sound sample of the song.
“Too Funky” is a song that basically pulls together all of the funkiest elements of 80’s dance music innovations. It has the the percussive shuffle of DC go go, the dramatic synthesized horns of the Minneapolis sound and the repetitive bass and piano of house music. What makes it “too funky” is not merely the sexually free (yet somehow post AIDS) lyrical content. But also the somewhat slower tempo and that percussive jump on the rhythms. George Michael wouldn’t put any new music out for four years after this. But it sure capped off the beginning of his solo career with a strong groove.
It would seem that 1973 bought a lot of changes into the Family Stone. Sly Stone had pretty much recorded There’s a Riot Going On by himself in a state of paranoid isolation. Band members were dubbed in as needed,with some such as Larry Graham and Greg Errico barely utilized-if even at all. This combined with Sly missing gigs during this era,to the point of it being blamed for starting a riot in Chicago in 1970 meant that some serious changes were needed within the band,if it was going to endure. In 1972 Larry Graham left the Family Stone to form Graham Centeral Station,with drummer Errico leaving during the same period.
During this time Sly himself began revamping the band. He bought in Rusty Allen to play bass during the time Graham was leaving and Andy Newmark as a drummer to succeed Errico. A vocal trio called Little Sister,including future Mrs. Leon Russel in Mary McCreary also came into the mix. Sly recorded with somewhat more involvement from the band for the album that would become 1973’s Fresh. Being a musical perfectionist, Sly insisting on remixing these songs even after the album came out. While this resulted in the original US CD release of it containing some of these alternate takes,the album began with a very defining groove for 70’s era Sly entitled “In Time”.
Sly begins the song with Newmark playing a very idiosyncratic march that intertwines with his own Maestro Rhythm King,an organ based drum machine,to play an Afro Latin percussive rhythm. Freddie plays a very probing melodic guitar with Sly’s organ providing a melodic pillow in the back round. Sly’s two note bass line seems to be present on this part. On the choruses,the drumming gets seriously on the one along with the horns and Allen’s more flamboyant bass parts. And the horns also play their usual call and response role on each rhythm. On the two instrumental refrains,Jerry Martini’s sax solos accompany Sly’s organ before the song closes on it’s own repeated choruses.
What this song does is serve the best possible purposes an opening tune can on an album. It sets the state for the sound for what is to come in that regard. Fresh is an album that blends a stripped down production with a slick sound and a full instrumental approach. And this song can best be described that way. The funk on this song,especially with it’s heavy rhythmic breaks and Sly’s drawling vocals,is more fully formed than it was on the previous album. The sound of the Maestro Rhythm King on early 70’s Sly records would also find it’s way onto Shuggie Otis’s work from the same period. So again,Sly was on the cutting edge of blending innovative instrumentation with strong rhythmic funkiness.
Filed under 1970's, Andy Newmark, drum machine, drums, Freddie Stone, Funk, Funk Bass, guitar, horns, Jerry Martini, Maestro Rhythm King, Mary McCreary, organ, Rusty Allen, Sly & The Family Stone, Sly Stone, Uncategorized