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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.

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