Tag Archives: Lenny Kravitz

Anatomy of THE Groove: “Billy Jack Bitch” by Prince

Prince recorded so much music in his lifetime,there were going to be moments that would be left neglected by some people. The Gold Experience was such an album. It was recorded in 1993 during the most bitter stages of his legal battles with Warner Bros. The end result is that it was the very first album released under the name of O(+>,itself actually functioning as the title for his 1992 album a year before this was recorded.  The album was released on Warner’s yet distributed by Prince’s own NPG Records on September 26th,1995. Because of all the hype surrounding Prince’s name change,this album seemed to be a big deal.

It was a man named Andy,who worked behind the counter of the local branch Strawberries Music chain,who first bought this album to my attention. He asked me if I was a Prince fan. Said I hadn’t heard a lot of his music,which was not a lie at the time. It was that conversation that actually got me interested in revisiting Prince’s music and learning about his history-which was then a bit more recent than it is today. I picked up a pre-owned CD of The Gold Experience a year later. I still seldom listen to it all the way through. One song that I just happily revisited on it was “Billy Jack Bitch”.

Prince starts off the song singing the songs title,accented by a vocal sample from Fishbone’s song “Lying Ass Bitch” over a fast funky drums of Michael Bland-along with a higher and lower toned synthesizer squiggle. A snare kickoff brings in the thick,pulsing bass line of Sonny T. along with the pumping organ of  Tommy Barbarella. This rhythm keeps the same flow through several verse/chorus exchanges before Barbarella takes a steamy organ solo on the bridge-just around the same time Prince accents his melody with sheets of rock guitar. The NPG horns fanfare away just as the song begins to fade out.

Prince and the New Power Generation really do their stuff so well on this song. As my friend Henrique pointed out to me very recently,this is a pretty straight up P-Funk style jam out of the “One Nation Under A Groove” and “(Not Just) Knee Deep” school. Rhythmically it’s a wonderful blend of the NPG’s band interplay with Prince’s instrumental and production touches-not to mention the harmony vocals of Lenny Kravitz-which brings the two contemporary funk/rockers together. That along with the tightly chorded horn voicing’s that come in at the songs concluding segment.

Lyrically this song has similar content to Michael Jackson’s Tabloid Junkie” from the same vintage. The focus is more personal-as Prince accuses the songs antagonist of “calling him silly names” as well as not being willing to confront him face to face. The song was recently confirmed  to have in fact been a direct statement about Minneapolis Star Tribute gossip columnist CJ,whom Prince saw as an enemy of his within the press. Even though it did have it’s place in the rather paranoid anti tabloid sentiment of it’s day,Prince and the NPG endowed it with some strong Minneapolis style P-Funk power.

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Filed under 1990s, Billy Jack Bitch, diss songs, drums, Fishbone, Funk Bass, horns, Lenny Kravitz, Michael Bland, Minneapolis, Minneapolis Sound, New Powe Generation, NPG Records, organ, P-Funk, Prince, rock guitar, Sampling, Sonny T, synthesizers, Tommy Barbarella, Warner Bros.

Albums Matter: Andre’s List Of The Top Funky Full Length Albums Of From The Past Five Years

Prince At the grammys

The 57th annual Grammy Award ceremony’s this past Sunday seemed to have surprised everyone. Many performances had a far more serious, even evangelical tone with references to domestic violence and the revived understanding of racism bought on by the police violence of 2014. Maturity and growth were very heavily emphasized on every level-performance and presentation wise. It was Prince,who just released two albums at the end of the last year,who got everyone’s attention-with the words printed above spoken as he presented the Grammy for the best album of 2014.

Prince’s words are what moved me to pick this particular topic for this weeks blog. One very important musical factor shared with my blogging partner Rique is our appreciation and advocacy for the full length album as an important artistic format in terms of how the music we love and are socially moved by is presented. To have someone with as rich a musical history as Prince bring this up at a major award ceremony confirmed the 2010’s have been all about the revival of the album as a driving force in the funk/soul/jazz/R&B spectrum in particular. So here’s my list,year by year of the music on that particular playing field that’s deeply effected my listening.

2010

Erykah Badu Return Of The Ankh

Erykah Badu is always one to throw the unexpected into her grooves. Here her thick,burbling jams blend into songs that are not only a cohesive statement but when sampling is used? They are of things like Paul McCartney album tracks of AOR oriented fusion artists such as David Sancious or Roy Ayers’ Sylvia Striplin. A wondrously sexy celebration of the funk album.

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Janelle Monae here was a key figure in the focus of both my music related blogs with her multi-genre embrace of the Afro Futurist ethic. This album was and is a true game changer in that regard.

John Legend Wake Up!

With both artists always edging just on the border of funk with their own respective releases? The groove burst out completely and with a total fluidity for John Legend and his backing band The Roots-including drummer/producer ?ueslove, for this (so far) one time musical collaboration.

2011

Beyonce 4

Known more for being innovative in terms of single songs,Beyonce’s fourth solo album gained a complete full length flow with a much more mature sound. Including the very polished Quincy Jones/Westlake style production of “Love On Top”.

Lenny Kravitz

Lenny Kravitz always had loads of funk in him. Here and there. Took him a long time before he fully identified with that funkier instrumental groove. And did so on one of his most thorough musical statements to date.

2012

Chris Brown Fortune

With contemporary electronic pop/hip-hop/dance music usually having enough energy to stretch only across a few songs? Chris Brown,during a less than satisfactory period for him personally no less,managed to take the contemporary musical end of his genre and stretch it out successfully longer than I’ve heard most do such a thing in some time.

Antibalas

This explosively percussion Afro-Funk group recording for Daptone were so connected to the original Afrocentric  pulse that spawned the original funk process groups such as Santana,Mandrill and War that following this album they became the backing band for the Broadway musical Fela! A rebirth of full length poly-rhythm at it’s finest!

Kaleidoscope Dream

Psychedelic,meditative and non traditionally structured sophomore release from new comer Miguel.

Victor Wooten

Bassist Victor Wooten saw such depth in this material that he released it both as a vocal and instrumental piece. Very original musical presentation at this time.

Macy Gray Talking Book

Macy Gray bought out her inner Sly Stone for this literal celebration of the album-re-making every song in original order from Stevie Wonder’s 1972 breakthrough album Talking Book on it’s 40th anniversary.

Talented bassist/singer Esperanza Spalding brings out the sprawling mid 70’s jazz/funk vibe for what is probably her most defining album as of yet.

Radio Music Society

Electronica meets boogie funk from a very interesting source blending a hard grooving as well as an ethereal quality.

2013

Toro Y Moi

Potent mix of electronica and boogie/synth funk.

Jyoti

Very bold sound from Georgia Anne Muldrow that embraces dramatic jazz/funk with a boom rap approach to production.

Trombone Shorty

Crescent City native Trombone Shorty presents the instrumental style of horn funk as a genre of sorts all it’s own,with many different tributaries,on this one album.

Apocalypse

Flying Lotus bassist Thundercat brings a huge,cinematic approach to psychedelic jazz-funk.

20 20 Experience

The first of two Justin Timberlake comeback’s this year. Probably a huge re-awakening for the album length music format,complete with 7-8 minute jams,that bough extended soul/funk to the broader contemporary pop audience.

2014

Pharrell

Long time producer emerges as a fully complete solo artist-full of funkified rhythmic energy and shook the world up in a way no funky music has in over three decades with “Happy”.

Kelis-Food

Kelis returns with an album that takes a very JB like organic instrumental soul/funk turn.

Paula

Robin Thicke’s emotionally charged break up album is a full on raw, muscular funk/soul extravaganza

Plectrumelectrum

Prince and the female instrumental trio 3rdEyeGirl become part of the double edged album sword in his studio comeback. It showcases a multi hued psychedelic funk/rock sound where the whole is definitely more important than the sum of it’s parts.

Goapele-Strong-As-Glass

Oaklands own Goapele lends the funk of Pharrell Williams and flowing,piano based jazzy soul/pop on an album that celebrates the flow of musical depth,dignity and elegance.

Black Messiah

D’Angelo shakes the world up with an extremely funkified statement that is still,at the time of this writing,showing people that black lives (and black music) matter a great deal.

2015 (So Far)

Uptown Special

With the month of January often being a driftwood month for new music? Mark Ronson brings Bruno Mars,Mystikal and Stevie Wonder together for some serious,churning “uptown funk? of many colors!


There were honestly more albums than I could’ve seriously listed in this blog that also fit right into it. But these ones made the most important statements on their own terms perhaps. A single song will always say a great deal. But if one impulse or a series of musical/lyrical impulse can be expanded out in a way that expands the mind naturally through a powerfully grooving auditory experience? Than I saw so much the better. So let’s all have it for the musical impact of the album! It’s a key organ in the anatomy of the groove!

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Filed under Beyonce', D'Angelo, Erykah Badu, Esperanza Spalding, Goapele, Janelle Monae, John Legend, Justin Timerlake, Kelis, Lenny Kravitz, Macy Gray, Mark Ronson, Miguel, Pharrell Willaims, Prince, Robin Thicke, The Roots, Trombone Shorty

Anatomy of THE Groove 10/10/14 Rique’s Pick : ” What Goes Around Comes Around” by Lenny Kravitz

Today’s Friday Funk “Anatomy of THE Groove” feature returns back to the 1990s and one of that decades great artists, Lenny Kravitz. I was discussing Kravitz with my good friend Calvin last week, and I came to somewhat of a realization about him and his career. I’ve heard lots of criticism of him, even from people one would think would make up his core constituency. The main complaint always seems to be that his Gemini versatility and gift for emulation prevent him from having his own style and somehow lack authenticity. When one considers Lenny’s upbringing however, one finds a resume that is quite unusual for an artist smack dap in Generation X as he (b.1964). Kravitz, growing up the son of star actress Roxie Roker of “The Jeffersons” fame, saw most of the major stars of the great ’60s and ’70s boom of soul, rock, and funk. Kravitz saw artists such as Miles Davis, James Brown, Sly & The Family Stone, P Funk, and The Jackson 5 LIVE. He also talks of going to see the great jazz drummer Buddy Rich play live. At the same time he was playing and learning instruments himself. The great R&B star Teena Marie personally took him in and encouraged his music. By the time he began recording and found his trademark eclectic groove and image, what the world had was a young musician, younger than M.C’s such as Chuck D, Ice T and Kool Moe Dee, who had the music of the ’60s & 70’s music explosion deep within him. Where the rap acts did as well, their non instrumental direction took them to making new tracks over the old sounds. Kravitz paid homage in the way he knew how, making songs such as “What Goes Around Comes Around” in the style of his great hero and fellow Gemini master, Curtis Mayfield.

Kravitz had just produced a song for Mayfield with Ice T providing a guest rap, called “Superfly 1990” for a little seen (and rightfully so) sequel to that blaxploitation classic. That song amazed me with its perfect update of the Curtis Mayfield classic funk vibe. Kravitz doubled down on the Curtis Mayfield sound with this song from his breakthrough 1991 album “Mama Said.”

A drum kick paves the way for the Curtis Mayfield inspired funk. Kravitz himself is on drums, and he plays the classic Curtis Mayfield funk drum beat, a Motown drum beat, which features the snare drum playing a consistent pattern on all four beats. Instead of the loud snare and rim shots you’d get from a great Motown drummer like Benny Benjamin, Curtis’ drummers like Quentin Joseph would play that snare drum on the cross sticks, which gives the groove a mellower, cooler, Afro Latin derived feel. With the snare holding steady, the kick drum is used to dance.

One of the interesting things I found out about this track recently is that Kravitz used Curtis Mayfields great bass player, “Lucky” Scott on this track. And he lays down exactly the type of bass line he would behind Curtis, a melodic bass line with a lot of space that creates a feel of walking, or more accurately, strutting down the avenue. On top of that Kravitz lays some very sensitive clean guitar chording.

The vocals are sung in falsetto, just as Curtis would, and the moral of the lyrical text is also Curtis influenced. Kravitz basically sings a song about Karma, using a blues type story in the first verse where the character is not living right and suffering because of it. The next verse tells the story of a persons who’s “cup over runneth/with fullness and grace.” Kravitz total devotion to the classic sound on this song is evident when the horns come in, and he used Earth, Wind & Fire’s renowned Phenix Horns to play the horn chart, which is a snappy accompanying riff. Kravitz also includes an interesting string part that he sings along with in falsetto. The third verse is about how we can’t afford to destroy the planet, and hte last verse takes on another Curtis like topic, encouraging the children of the future. And he speaks directly of Gen X and the Milenials, with a Mayfield like twist of phrase and rhyme : “Your forefathers said/but they did not do/the things that would show/that they cared for you.”

Lenny truly goes for the soul-funk crown on this one, adjusting his guitar comping in several sections and adding a Phenix Horn (probalby Don Myrick) sax solo. I really dig the solo, especially the way the horn player starts off in a totally conventional matter and moves way out into free jazz Coltrane/Dolphy/Sanders abstraction. It reminds me of the sax solo on EWF”s live rendition of “Sun Goddess.” Kravitz plays some very responsive guitar underneath the solo, actually adjusting what he’s playing to support and provide interest behind the soloist. By the end of the song Lenny is singing “I’m gonna take you higher.”

When Lenny Kravitz recorded and released this song, the late great Curtis Mayfield was in a wheel chair, paralyzed from an accident at a New York concert. Curtis himself was no longer able to play his guitar, on which he was a great innovator and stylist. It was very special then, that Lenny did this song, and brought Curtis’ voice, wisdom, and healing through music to those times. And he did it in a way that was stylistically true to one of the most unique styles in funk music history. “Mama’s Said” was a diverse album that featured all sorts of variations of rock and funk, including the great Philly Soul love letter to Lisa Bonet, “It aint over till it’s over.” I would love to play this song now for an old funk fan who ignored Kravitz because of his percieved weirdness. I’d bet they’d marvel at how well one up and coming master captured the unique artistry of another. And by “marvel”, I do mean GROOVE!

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Filed under 1970's, Earth Wind & Fire, Funk, Funk Bass, Generations, Lenny Kravitz

Andre’s Amazon Archive for 8/23/2014: “Bare My Naked Soul” by Jesse Johnson

Jesse-Johnsons-Bare-My-Naked-Soul-1996-FLAC

Apparently there had been many people since the beginning of Jesse Johnson’s career who had wanted the former Time guitarist to make a more thoroughly guitar oriented album. A musician is not necessarily creatively bound to the demands of their admirers. After all if someone really admires someones art,why would they want them to change it? As with Prince Jesse was instrumental (pun more than intended) in bringing the sound of the rock guitar into the Minneapolis funk context. And he especially bought it to the Time’s 1990 release Pandemonium with the song “Chili Sauce” as well. Than a couple years after that the punk revival known as grunge broke out. Suddenly every rock music lover began demanding only like minded music be released and heard. The alternative era had begun-with the unspoken credibility war soon to follow. Jesse hadn’t had the easiest time either. The Time dissolved again-forcing Jesse to have to do a lot of anonymous soundtrack session playing,some of which never got released. He signed with the indie label Dinasaur Entertainment in the mid 90’s and for the first time in years eschewed the multi instrumentalist format. Teaming up with drummer Brian Edwards,back round singer Kim Cage and on one occasion former Band Of Gypsies/Hendrix alum Billy Cox on bass,Jesse put out this album in 1996 to at last fully explore his talents as a guitarist.

The title song,”My Life”,”Let Me In”,”Walk Like Me Talk”,”Shock To The System”,”Brand New Day” and “War Babies” all represent the hardest rocking songs on this album. Jesse’s ability as a guitarist is impressive as he goes from playing the amplified blues crunches to the technicolor psychedelic reverbed harmonies and melodies at a moments notice. “I Miss”,featuring Billy Cox and “Cry Like The Skies” both strong echo Jimi Hendrix’s fluttering ballad style a great deal-with cleaner,high pitched riffs and heavy reverb again. Only this time on the vocals as opposed to the instrumentation. “You Don’t Love Me The Same” is an out and out twangy modern country/western number with just a little touch of a blues attitude about it. “Mr. Heartache” is a pointed folk-rock ballad that,as with most of the lyrics here,focus in on a need for positive minded change and resolution to cynicism. “Bella Bella” is a similarly pretty folk minded affair-this time apparently a tribute to his then newborn daughter. “Bring Your Love Down Hard On Me” is straight up 12-bar blues-finding Jesse working out at his Muddy Waters-ish best. “Mokika” is a folky rhythm & blues shuffle that reminds me a bit of what KT Tunstall has done in recent years while “Nevermind Saturn Sunrise” closes the album with a psychedelic instrumental reverb guitar explosion.

Considering how ubiquitous guitar oriented music was becoming during this era? This album is expertly played with a number of instrumentally vital ideas and musical directions. The only question I have is why did Jesse Johnson even need to do this? While it has a lot of strong material,everyone already know what a great guitarist Jesse was. There really isn’t anything on this album that Lenny Kravitz hadn’t already dealt with a few years earlier. The fact Jesse’s hopeful and optimistic lyrical tone on this album stands so much in contrast to the attitude of this era speaks volumes. I feel Jesse himself was in the process of coming out of a dry spell when this album came out,so he just gave rock guitar admirers what they wanted from him while countering that impulse with his words. The pompous liner notes written by Steven Ivory also emphasize the most repulsive aspect of the “credibility wars” for me. He rails on about a “twilight zone of commercial pop/R&B”-where as he puts it,scientists in white coasts “dutifully create depressing amounts of Moog powered mutant soul that has about as much passion as a Happy Meal”. He even goes on to say “funk IS rock ‘n roll”-that “the groove” is simply rocks funky derivative. And how Jesse instinctively knows this. From this its too easy to have the impression Jesse made this album simply to survive in the restrictive musical climate of the mid 90’s. Basically if one admires the full spectrum of Jesse Johnson’s instrumental talents? This is worth picking up if you can find it for under $10.00. If your an admirer of Jesse’s work as a funk dynamo in the 80’s? This is definitely not going to be the album for you.

*Original Amazon.com review here

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Filed under 1990s, alternative rock, Amazon.com, Funk, Jesse Johnson, Music Reviewing, rock 'n' roll

Andre’s Amazon Archive for 8/16/2014: ‘Black And White America’ by Lenny Kravitz

Lenny Kravitz

With this release Lenny Kravitz finds himself consummating the musical direction he began with his 5 but for some reason backed away from. As with myself Lenny is the product of a biracial family. And he likely faced some of the cultural ambiguities that I often had to contend with. Especially on the creative end. He spent much of his career on the path to being the modern equivalent of a Jimi Hendrix or Vernon Reid-using rock guitar and the rock ‘n roll style as his main choice of expression. On this album all of that is beginning to change. Recorded in the Bahamas with the environment having it’s own type of effect on the music this is also his debut for the Roadrunner label. It’s a branch of Atlantic-former home of famous soul icons Aretha Franklin,Ray Charles…the list goes on. So it’s only fitting,with the idea of the classic Atlantic soul style still felt today that this would be the album where Lenny would officially find the funk in all it’s fruitful forms.

This album begins with a serious punch on the title song,an autobiographic number fully exploring the pumping sophistifunk/dance style of the mid/late 70’s,celebrating his biracial heritage and how the modern age is far more accommodating to that despite the socio political racial tensions bought home in today’s world. On “Come And Get It”,”Superlove” and the JB sendup “Life Ain’t Ever Better Than It Is Now” he extends the funk into his sound more than he has on any other album. And he isn’t finished exploring this melodic groove after that either. On the pulsing “Liquid Jesus” where Lenny brings his falsetto back out and,the acid jazz ARP synth laden “Looking Back On Love” and the “boogie” style of “Sunflower” he’s fully acknowledging the 1980’s method of funk. It doesn’t end there. “Boogie Drop” featuring Drake explores a very unique direction in funk-finding Lenny being a pioneer for once in mixing modern electro revival with strong West Indian rhythms and hip-hop touches.

One of the best part of this album is on “Rock Star City Life”,”In The Black”,”Everything”,”The Faith Of A Child” and “Push” it’s clear the influence of 80’s new wave,itself heavily derived from funk and disco is having a very positive effect on these rockier songs. The noisy guitars are pushed to the backround as rhythm becomes the center of attention. On the hit “Stand” he’s come to the ultimate hybrid of Sly Stone,Prince and OutKast’s Andre 3000 in terms of delivering rock n roll influenced funk with a highly melodic nature. So for the first time I’ve heard Lenny delivers an album of sixteen songs where not one tune disappoints. From the wonderfully relevant cover artwork to the wonderfully way he’s embraced the production medium of the jazz,funk and danceable hip-hop he’s now bought into his orbit this finds Lenny at long last becoming himself as a musical entity. More over the fact that he’s broadened his message to showcase how his conscious bohemian outlook can benefit the current generational cycle. If this is to be the path he’s going to chose to develop in terms of funk,rock and/or the other in the

*Click here for original Amazon.com review!

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Filed under 1970's, 1990s, Acid Jazz, Amazon.com, Aretha Franklin, Funk, Funk Bass, Hip-Hop, James Brown, Lenny Kravitz, Music Reviewing

The Anatomy of THE Groove 08/15/14 Rique’s Pick : “Sex” by Lenny Kravitz

Lenny Kravitz has had a unique place in popular music over the past 25 years, particularly in black music. When he got his contract, the idea of a black musician was almost abstract, particularly playing the types of solid classic rock, retro funk and soul sounds he’s become famous for. Kravitz has been needed over the years because ears and booties need a break from the drum machine every now and then, but the man has faced criticisms himself for being stuck in the same groove from time to time. Todays song selection, “Sex” from his upcoming album “Strut” finds him in a new bag, a monstorous funk/rock/disco tune in the tradition of The Stones “Miss You”, David Bowie’s “Golden Years”, and many other rock meets funk junctions. Kravitz adds his one of a kind vocal phrasing that mixes gospel type joy with rock and roll exuberance and the results are something much funkier than your average headbang!

The song wastes no time establishing the groove. A drum roll announces the song, leading into a washed out, high in the mix, reverberating drum track. The guitar plays a funky  riff, heavily phased and eq’ed in a dominating rock and roll manner. The bass line is a real beauty of simplicity, taking in part from classic funk bass lines like Chic’s “Good Times”, “Ape is High” by Mandrill, and “Hollywood Swinging” by Kool & the Gang, announcing itself by playing the same note three times, right on top of the beat. The bass is a four bar pattern, and its both funky and rock solid. The track gives the effect of an extremely funky power rock trio playing, in which the instruments have lots of room to make an impact and the sound is filled up by adding effects to make the music sound monstorous.

Lenny sings a song of sexual gratification, and even though the song title is blatant, his lyrics are in the best tradition of soul and R&B suggestion.  He tells his woman: “Breathe me, tease me/Cant control how I feel when you’re near me/I cant do nothing about it/got that feeling coming over me.”  Lenny sings the verse in a basic rock shouting manner, but switches on the refrain to a gospel joy vibe much more akin to Al Green on “Take me to the River.”

Around 2:05 in to it, Lenny plays a very funky vamp, with a galloping type of disco beat and a middle eastren melody, leading back to him vamping on the refrain and the chorus. The song only has two verses, and ends, as we’ve seen a few funk songs going back to lately, with an extended instrumental playout.

“Sex” is a good song, a reminder to a time many often forget when funk, disco, and rock all converged. If one listens to it and the other song so far released from “Strut”, “The Chamber”, it sounds as if Kravitz is exploring funky disco rock, New Wave, and Dance Rock/Dance Punk styles. If that’s the direction he’s going in this album I’m happy for it, as the intersection of funk and rock has always been his natural area, and he might very well find an inspirational new sound by bringing his musical excavations up to the late ’70s on through the ’80s. But until the album does drop, my morning runs are going to be accompanied by the sounds of “Sex.”

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Filed under "Sexual Healing", 1970's, 1980's, Blogging, Disco, Funk, Music Reviewing

Andre’s Amazon Archive for May 24th,2014: Labelle’s ‘Back To Now’

Back To Now

            Obviously many classic soul lovers have been awaiting this for a very long time-finally Sarah Dash and the incomparable Nona Hendryx team back up with the now solo diva Patti Labelle for a full fledged reunion. ‘Back To Know’ features the production help of both “contempo” musicians Wyclef Jean and Lenny Kravitz along with old Labelle pals Gamble & Huff for this gutsy,funky soul fest-full of those high energy gospel shouts and harmony’s that Sarah,Nona and Patti can give us. All of the songs are excellent-even “Rollout”;the only cut obviously designed to “reach the kids” of the new millennium with it’s bass heavy hip-hop/pro-tools softwhere sound. Aside from that all of the music here could easily have been ripped from a late 70’s follow up to Labelle’s last album Chameleon (a classic more then worth hunting down);”Candlelight”,”Superlover” and “System” all explore the waters of soul,gospel drenched R&B and hardcore funk before each tune is out. Lenny Kravitz’ presence makes itself clear on “Truth Will Set You Free”,a tough funk rocker reminding us not only that Labelle were one of the earliest female groups to combine funk and rock but that none of that spark has faded with time or separation.

            Even if the music world of today welcomes them the world Labelle are making a comeback in has changed dramatically. We’ve moved way beyond Marvin Gaye’s concerns about an “overcrowded land” with “fish full of mercury”;we have global warming,a disintegrating economy and paranoia about terrorism. In their tradition Labelle over up almost half an albums worth of messages songs,all with a different motivation-in “Tears For The World” documents in traditional funk message song style a litany of todays problems and our unexpected apathy towards them;that maybe showing feeling might bring people to act.”Dear Rosa” is a tribute to the late civil rights pioneer-thanking her for her efforts but somberly pointing out that she died before you dream was fully realized. On “How Long” and “Miss Otis Regrets” stories of triumph and wonder prevail and we as the listener really feel we’ve experienced something magical,and we have. It would be a pity if this was the last we heard of Labelle as a unit but if it is this would be a worthy,if long long delayed,goodbye.

Originally Posted On October 21st,2008

*Here is the original review on Amazon as well:

http://www.amazon.com/review/R55XEUEI3M0CD/ref=cm_cr_rdp_perm?ie=UTF8&ASIN=B001E2PTIG

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Filed under Disco, Funk, New Orleans, Patti Labelle, Rhythm, Soul

Anatomy of THE Groove 3/21/14: “Long Weekend” by Trombone Shorty

Since it would seem that that New Orleans has the reputation of being the birthplace of the concept of funk itself,what with the first acknowledged jazz musician’s Buddy Bolden’s song “The Funky Butt”,it makes perfect sence that an important element of the modern funk revival would emerge with the Crescent City’s own Trombone Shorty. Originally named Troy Andrews,he grew up in the cities Treme’ region-playing in the local marching bands and eventually becoming a featured member of Lenny Kravitz horn section in 2005. Having already entered into rising adulthood having been reared with a musical synergy of the traditional Dixie Land marches of his local area as well as the late 80’s funk revelations such Cameo’s “Word Up” and Prince’s “Housequake” ,Andrew’s had the musical wherewithal to zero in on a somewhat under-explored middle ground between both those divergent funk approaches on Trombone Shorty’s 2013 release Say This To That with a groove entitled “Long Weekend”.

Kicking off with an announcing drum kick,the rather percussive and slow crawling drumming is immediately joined by a cleanly played,melodic funk guitar line with a high electric organ swirl slowly building in the back round. Another drum kick announces the introduction of Andrew’s expressively earnest lead vocals. When singing the chorus of the song,he’s joined by his own multi tracked backup vocals when the songs title is mentioned. The bass line of the song isn’t generally as prominent throughout the song as the guitar and drum/percussion part is. However at the end of each instrumental chorus,especially before a drum kick,the popping jazz/funk bass line comes to the forefront much more heavily. On the bridge and during the outro of the song,the melodic and rhythmic structure of the song totally changes. The bass is lifted to the forefront scaling down to a powerful bass/guitar chord that intensely amplifies the funkiness in the center and end of the song.

While funk is not as widely known as a musical genre as some of its admirers might think that it is, a majority of musicians performing funk are doing so very much in the late 60’s/early 70’s raw live band type James Brown/Tower Of Power style. Considering his music is strongly based in jazz-fusion/blues and psychedelic soul/rock, Trombone Shorty and his bands’ approach to this song emphasizes a trend in contemporary funk music that seemed to have spawned from Pharrell Williams productions for Justin Timberlake,Robin Thicke and Daft Punk. And that is a strong emphasis on the production style of late 70’s Ohio based funk bands such as Heatwave and Slave. This is a style where the bass/guitar/drum interaction is still hard grooving funk. But the sound is more studiocentric than developed mainly for live performance. Of course Andrew’s adds a more jazz oriented electric piano groove on the bridge to give the song his own type of flavor.

Another element of “Long Weekend” that’s very similar to the music of Slave in particular is how close the lyrical and melodic content of the vocals are to that Ohio bands adolescent party funk aestetic. In particular the way Andrew’s is pitching woo to an older woman,once the subject of a high school type unrequited love and is now old enough to appreciate her-particularly on a somewhat scandalous “long weekend” with this lady that even includes “a trip to the liquor store” to ensure a little physical adventure-even though he doesn’t feel able to tell his peers. Of course this attitude lends itself very well to the near perfect balance of studio production and live instrumental production. Judging from what I have seen in a video of Trombone Shorty performing this song live? Today that late 70’s style of recorded danceable funk music is just as viable on stage as it is on record. And “Long Weekend” emphasizes that very strongly.

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Filed under 1970's, Blues, Funk, Funk Bass, Late 70's Funk, New Orleans, Rhythm, Trombone Shorty