Tag Archives: Nile Rodgers

Anatomy of THE Groove: “Est-Ce Que C’est Chic” by Chic

Nile Rodgers had a colorful life long before being the one of the founding members of Chic. This native New Yorker was born to a teen mother who, like his father, was a beatnik and heavy drug user. More importantly, it was an environment filled with music. Being drawn to the guitar at an early age, Nile began as a session player with the Sesame Street band-which was led by the iconic composer Joe Raposo. He gained much of his experience as the guitarist for the Apollo Theater house band. With them, he backed up acts as diverse as Aretha Franklin, Ben E. King and P-Funk.

It was while working for a  Sesame Street stage show that he met up with bassist Bernard Edwards.  Together they formed the Big Apple Band, who became the backup musicians for the vocal group New York City. After seeing a Roxy Music concert, Rodgers was inspired to change the name of the band to Chic. Their self titled debut helped establish disco as a genre of dance music-with songs such as “Dance,Dance,Dance” and “Everybody Dance” leading the way. The album also showcased what strong composers and musicians they were. Especially with album tracks like “Est-Ce Que C’est Chic”.

The song starts right off with an instrumental version of its chorus. This consists of Tony Thompson’s pocket dance beat with Nile and ‘Nard’s classic bass run/chunky rhythm guitar based rhythm dynamic providing the base of the song. Over that, there’s a chromatic walk down on piano. A glockenspiel and what sounds like an ARP string synth provide the harmonic sweeteners to the bottom of the song. The refrain take the song up a key slightly-emphasizing Nile and ‘Nard’s bass/guitar and closer piano riffs higher in the mix. After a barer version of it on the bridge, an extended chorus fades out the song.

“Es-Ce Que C’est Chic” showcases many examples of different trademarks this disco outfit would have in their time. One was the use of their name in song titles-along with a chorus that was sung partly in French. Instrumentally, it takes older black American ideas from bluesy soul jazz and R&B. And really stylizes them with a lot of sonic polish and elegance. The song lyrics about about an actress seducing people to get to the top, sung sweetly by Norma Jean Wright, showcase the witty (sometimes topical) story songs that reflect the disco era realities of which Chic were part of the soundtrack to.

 

 

Advertisements

Leave a comment

Filed under Chic, Nile Rodgers

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.

 

 

Leave a comment

Filed under Sister Sledge

Anatomy of THE Groove: “Glad To Be Here” by Bernard Edwards

Bernard Edwards was a bassist who truly left his musical footprint in time. Even long before his best known audio footprint came along with Chic’s 1979 jam “Good Times”. This essentially showcased the exact transition from disco to hip-hop-by ‘Nard’s iconic bass line also being the basis for Sugarhill Gangs equally iconic “Rappers Delight”. Edwards style was based is economy with style,especially on his bass lines/solos on Chic hits such as “Dance,Dance,Dance”,”Everybody Dance” and of course “Good Times”. This was a major aspect in how Chic innovated their disco style through some heavy funkiness.

Some years ago,I became familiar with the first two solo albums by Chic guitarist/ songwriter /producer Nile Rodgers. I only found out that Bernard Edwards recorded a solo album in 1983 (around the time Chic ended its original run of albums)  following his death 20 years ago now of pneumonia. It was entitled Glad To Be Here. It was reissued on CD roughly around the time as they reissued Chic’s early 80’s catalog. Only recently have I began to explore the songs from by listening to them via YouTube. The tune that really epitomized the album was the closing title song.

A heavy drum kick opens the song before the Vocorder  comes in to introduce a melody. That’s when the main body of the song comes in. This consists of a tight,dripping higher pitched rhythm guitar. Edwards bass accompanies this sometimes to the letter,other times with stick slapping lines. This is accompanied by  quavering bursts of synth brass. Edwards raps seem to count down to the next section of the song. There are two instrumental bridges. One is built around a thumping synth bass solo. The other is a stiff,hiccuping higher pitched synthesizer that begins the refrain that fades out the song.

It comes as now surprise to me that,for all intents and purposes,this is still a complete Chic song. Tony Thompson provides the drums,Bernard Edwards is carrying on the bass while the guitar is from Nile Rodgers himself. The only thing it does is strip out the strings and lead/backup female vocals. So this represents Chic in its core rhythm section. And it becomes clear how funkified that sound is. This is heavy,naked electro funk. Basically what Chic might’ve sounded like going through the Minneapolis funk filter of the day. And it showcases how vital Edwards’ sound was as a part of Chic. Even on his solo material.

 

Leave a comment

Filed under 1980's, Bernard Edwards, Chic, drums, electro funk, Funk Bass, naked funk, Nile Rodgers, rhythm guitar, synth bass, synth brass, synthesizer, Tony Thompson, vocoder

My Life with You I Share: An Alternate Timeline Review of Prince’s For You

Note from Zach: As you may or may not know, I’ve spent the last several weeks writing about the songs from Prince’s debut album on my chronological Prince blog, dance / music / sex / romance. In the process, I’ve been struck by the many contingencies that exist around For You, and Prince’s early career in general. If things had gone even slightly differently; if his label–or, for that matter, Prince himself–had shown even a little less confidence in his artistic development; then we would be looking at a very different musical landscape in 2016. There’s also the fact that, as I’ve noted several times in my track-by-track posts, it’s difficult to look at For You in retrospect without seeing it as just the first, not-entirely-successful glimpse at a talent and vision that would find its full expression in years to come. But what if that perspective wasn’t the default? What if For You wasn’t the first step in a long career by Prince, but in fact his first and last album? This post is my attempt to think my way through this situation: think of it as a look back at For You from a possible alternate timeline. I don’t know if I will do this for other albums in the future–or, like, ever again–but I thought it was an interesting exercise to examine Prince’s earliest days as a recording artist through a completely different lens. I hope you find it interesting, too.

The reclusive multi-instrumentalist known only as “Prince” may not be as much of a household name as, say, Shuggie Otis; but to serious aficionados of 1970s funk and soul, he inspires a kind of hushed reverence normally reserved for the likes of Stevie Wonder. In fact, Prince’s mainstream obscurity and his cult notoriety are two sides of the same coin: both stem from his having released only one album, 1978’s For You, before he disappeared from the music scene completely. Thanks to a decades-long process of discovery by collectors and rehabilitation by critics, however, in 2016 he stands as one of the great “what-ifs” of 20th century pop music.

The story behind the making of For You is fascinating and frustrating in equal measure. An introverted musical prodigy from Minneapolis, Minnesota, Prince signed a multi-million dollar contract with Warner Bros. Records when he was just 17 years old–which unsurprisingly made waves in the recording industry trades at the time. Also remarkable was the fact that, as a 1978 press release put it, “Prince did it all. Composed the music, produced the sessions. Played the instruments (drums, guitars, pianos, bass synthesizers and more) and sang all the lead and background vocals. He even wrote the string parts.” He was, according to legend (and the press release), the youngest producer in W.B.’s history as a label.

(Photo removed at request of rights holder.)

But Prince’s inexperience and perfectionism proved to be his undoing. The story goes that he blew through all $180,000 of his three-album recording budget on For You alone: holing up in the Sausalito Record Plant for days on end, tinkering obsessively with the songs. When it was finally released, the album was a modest success: lead single “Soft and Wet” even reached Number 12 on the Billboard Hot Soul Singles Chart (though it peaked at only Number 92 on the Hot 100). But the second single, “Just as Long as We’re Together,” stalled at Number 91 on the R&B charts; the album itself also dropped rapidly, peaking at only Number 163 on theBillboard 200. Prince did get some positive press from African American teen magazines like Right On!, where his soft, almost feminine good looks and ineffable air of mystery made him marketable as a pop idol. But the mainstream largely passed him by, and Warner ultimately decided that another album wasn’t worth the investment; after Prince made an awkward, tentative live debut at Minneapolis’ Capri Theatre in January 1979, the label cut their losses.

Which is a shame, because if nothing else, For You positively bristles with potential. The aforementioned “Soft and Wet” is futuristic funk, streamlining the pioneering synthesizer sound of earlier acts like Parliament with an added dose of fey, flirtatious sexuality. Closing song “I’m Yours” starts as a lite-funk workout, then transforms abruptly into full-blown arena rock. The opening title track, meanwhile, is lush baroque soul–not to mention evidence of how Prince managed to blow almost $200K on a single record–with a blissed-out a cappella chorus of multi-tracked Princes singing in unison. It’s like an R&B “Good Vibrations”; the kind of bold, hubristic statement you’d expect from an established artist with multiple successes behind them, not an upstart teenager who came out of nowhere and would return to obscurity just as soon.

There are also more predictable pleasures, albeit always with a subtle tweak. “Baby” is a note-perfect Philly soul simulacrum (had Prince ever even been to Philadelphia?), with lyrics about the decidedly unconventional subject of an unplanned pregnancy. “My Love is Forever” is chirpy disco, but with guitar leads more muscular than even Nile Rodgers would dare attempt. “In Love” also sounds decidedly of-its-time, but with lyrics (“I really wanna play in your river”) that are disarmingly frank in their eroticism. And on the soft songs–“Crazy You” on Side One, “So Blue” on the eccentrically-named “The Other Side”–the 18-year-old shows a depth of musical range and vocal dexterity far beyond his years. For You isn’t earth-shattering, per se–there’s a reason why it didn’t set the world on fire when it came out in 1978–but its subtle blend of musical styles and Prince’s oddly demure lustfulness belie an inventive artistic persona that isn’t quite like anything else, before or since. It’s little wonder that several influential members of the new school of “alternative” R&B, including Frank Ocean and Janelle Monáe, swear by this relatively obscure debut record from the late ’70s.

The afterlife of For You is even stranger than the story of its birth. Prince, as mentioned above, seems to have disappeared after he was dropped by Warner: presumably back to his hometown of Minneapolis, though conflicting reports also claim he became a successful session musician in L.A. It’s certainly difficult to imagine an artist as bold and ambitious as Prince clearly was leaving music behind entirely; there are thus numerous rumors of later maneuvers from behind the scenes. The tracks “Do Me, Baby” and “Why You Wanna Treat Me So Bad?” from the 1979 debut album by André Cymone–Prince’s fellow Minneapolitan, and his bass player at the ill-fated Capri Theatre show–are both heavily rumored to have been written by Prince; though they don’t sound quite like anything on For You, so whether it was actually him is anyone’s guess. There’s also been speculation that he played the guitar part on Lipps, Inc.’s 1980 single “Funkytown”: still the biggest hit ever to come out of the Twin Cities. Otherwise, all pop cryptologists have to go by is a string of little-known B-sides from Minneapolis-based artists like Sue Ann Carwell and Alexander O’Neal, with writing credits from suspiciously pseudonymous-sounding names like Joey Coco and Alexander Nevermind.

Meanwhile, the stature of Prince’s sole official release has only grown with time. The album was out of print for most of the 1980s, until it received a spike of notoriety among crate-diggers in the hip-hop era: see, for example, the sample of “Soft and Wet” in RBL Posse’s “I Ain’t No Joke.” This led to the album being reissued in the early ’90s, along with a renewal of interest from critics and musical historians. Today, as noted above, it’s a bona fide cult record, feted among artists and listeners on the left field of R&B, pop, and hip-hop for its unique, genre- and gender-fluid sensibility. Prince, meanwhile, has remained reclusive, though he’s presumably still alive: with the album’s 40th anniversary fast approaching in 2018, it would be great to see him come out of retirement and play some of these old songs for his new and growing fanbase. The world might not have been ready for For You in 1978, but I think it just might be ready now. Hopefully, wherever Prince is today, he realizes that.

(All right, that’s it, y’all…thanks for indulging me in this little A.U. fan fiction exercise. I’m actually taking next weekend off from Andresmusictalk, but I’ll be back on October 8 with something that will almost certainly not be about Prince. See you then!)

This post is cross-posted from dance / music / sex / romance.

1 Comment

Filed under 1970's, Alexander O'Neal, Prince, Uncategorized, Warner Bros.

Anatomy of THE Groove: “It’s All In Your Hands” by Nile Rodgers

Nile Rodgers remains one of my musical heroes to this very day. He’s survived the anti disco backlash his band Chic received,drug addiction and most recently a cancer scare. He’s also done so with gusto,a confident smile and strut,and plenty of new musical activity. Among them (so I hear) working with Janelle Monae on her upcoming album. His rhythm guitar style became one of the most identifiable and influential of the final quarter of the 20th century. That guitar style also shaped his second career as a producer for some of the 80’s biggest  acts such as Duran Duran,Inxs and Madonna.

On another level,he actually had a third musical career. And its one that didn’t earn him quite the accolades that he had with Chic or as a producer. That was,irony aside,his own solo career. It all occurred when Chic petered out following their final album  Believer. That same year Rodgers embarked on his solo career-presenting himself primarily as a multi instrumentalist/writer/producer/singer. This first solo album was a wonderfully conceptualized package called Adventures In The Land Of The Good Groove. One song that stands out strongly for me is called “It’s All In Your Hands”.

A brittle yet rolling drum machine beat starts out the song unaccompanied-sounding very in keeping with early 80’s hip-hop spareness. After 10 seconds of this,a lead melodic synthesized piano comes in-along with a brittle synth bass line. Rodgers brings in a smooth,reverbed rhythm guitar repeating a rather jazzy melodic theme over this. This acts as the primary body of the entire song. The sexual surrender expressed in the lyrics also remain on the one throughout. The bridge of the song emphasizes Rodgers’ rhythm guitar riffing before that ongoing chorus fades out the song.

Listening to this song outside the context of the wonderfully grooving album its from,it becomes clear how many bridges this song actually crosses. It has the hard break beats and stripped down ethic of period hip-hop-along with the rhythmic instrumental exchanges of funk. Not to mention some of the smoother production values of new wave pop/rock of the mid 80’s. This song represented the transition between Chic’s funky,often jazzy type of disco to the rock friendly dance productions of Nile Rodgers career of the 80’s. And is a superb example of his solo sound.

 

Leave a comment

Filed under 1980's, Chic, dance funk, drum breaks, drum machine, hip-hop funk, Nile Rodgers, rhythm guitar, synth bass, synthesizers

Anatomy Of THE Groove for 5/1/2015: “Peaches ‘N Cream” by Snoop Dogg,Pharrell Williams and Charlie Wilson

A dozen years ago,Snoop Dogg’s career was revitalized by The Neptunes. Half of which is Pharrell Williams,now the modern day Quincy Jones (as producer) himself. This was on the song “Let’s Get Blown”,featuring guest singer “Uncle Charlie” Wilson himself-the original Gapper. Today Pharrell,withdrawn musically from The Neptunes is absolutely on fire as a funky hit making producer/musician in his own right. And having the same effect on Snoop and Charlie yet again on the new song “Peaches ‘N Cream”.

A rigid,insistent beat counts down the full body of the song. The chorus consists of a clean,bubbling mid to higher toned electric bass line backed by a looser and slower 4/4 beat,accented with the ringing percussion on the last bar of the that bass line. The refrain of the song,which showcases Snoop’s melodic singsong rap, adds in a wonderfully Nile Rodgers style rhythm guitar along with a very dreamy style 70’s jazz/funk high electric piano solo wash hugging the guitar like a musical pillow to a blanket.  This dynamic stretches in and out in variations as the melody and rhythm evolve as the song itself fades out.

One of the most fascinating aspects of this song is how musically elastic it is. On that level alone? It treats funk as a genre worthy of great respect and dignity. The main rhythmic thrust of it is very much out of the boogie/post disco late 70’s/early 80’s dance-funk kick that’s defined Pharell’s current productions. Also in classic P-Funk style? The danceable mean beat really concentrates ones attention on the Paulinho Da Costa like ringing percussion and other rhythmic accents. That harmonic element of jazziness that comes from the keyboard playing on this song helps expand out it’s funky elasticity.

The vocal arrangement is fantastic. It seems to melt Snoop,Charlie and perhaps Pharrell himself on a thick vocal chorus of male tenor funkiness. Charlie himself provides his typically thick (and in this case distant) call and response cries in the back round. Snoop Dogg is clearly keeping up with the playing sexuality that’s at the core of his lyricism. Only thing is? I’ve heard him do this so many times before,in exactly the same way. Snoops lyricism goes very much to the core of funk at it’s most lustful end. Just feel he sounds bored here-as if it’s become a bit of a formula. Nonetheless that cannot diminish the musical power and funky serenity this songs instrumental and vocal arrangement provides.

Leave a comment

Filed under 2015, Boogie Funk, Charlie Wilson, dance funk, Funk, Funk Bass, Jazz-Funk, Nile Rodgers, P-Funk, Pharrell Willaims, post disco, Quincy Jones, Snoop Dogg, The Neptunes

Anatomy of THE Groove 4/17/2015: “I’ll Be There” by Chic featuring Nile Rodgers

The contributions to every sub-genre of instrumental oriented funky dance music owes a great debt of gratitude to Nile Rodgers and the Chic Organization. Ever since his major commercial comeback in 2013 with creatively promising most millennial nu funk/disco icons Daft Punk Pharrell Williams on “Get Lucky”. Back in the game of hit production work with new artists such as Tensnake and Sam Smith? Nile began fine tuning some discarded tapes recorded originally for Sister Sledge and featuring the late bassist Bernard Edwards and singer Luther Vandross on vocals, and re-introduced his much anticipated comeback with Chic on a new groove entitled “I’ll Be There”.

It begins with the rolling percussion of Ralph Rolle,with Jerry Barnes bass weaving itself into the mix for a colorful rhythmic tapestry. ‘Nard himself then chimes in on his iconic mid toned rhythm guitar for his always danceable,rhythmic and chunky groove along with melodic (and sometimes spacey) accenting horns.-having Barnes take over on bass as the lead instrument on the vocal refrains. Just before the bridge of the song,the music again reduces down to the bass and percussion sound before even the bass strips out-leaving nothing but the fast paced Afro-Latin percussion before the song fads out on Nile’s chorus.

First thing that I can say about this Chic groove is that it has the complete flavor of a Chic song from their late 70’s,early 80’s heyday. The emphasis is again on the rhythm instruments such as bass,guitar and percussion. These are the elements that made Nile and Chic some of the funkiest musicians of the disco era. As well as being the core element of the post “Rapper’s Delight” take on commercially viable hip-hop that used live musicians as opposed to samples. The music video featuring a then and now look at a fashion conscious lady enjoying old Soul Train episodes,and spinning Chic vinyl records while the current band perform in a contemporary club perfectly captures their modern/retro disco vibe.

Wanted to close off with a little personal story time about myself and Chic. My own adolescence in the mid/late 90’s seemed to represent a gradual change in the music world’s attitude towards disco. It started out with a very virulent hatred in the “disco sucks” mold of the early 80’s freeze out of the music. Yet it ended with huge popular rappers such as Biggie Smalls and even Will Smith sampling disco/post disco era songs with total pride. Not to mention the importance of those songs complete embrace by the public in a positive light. This reminds me of my favorite lyric in this song which says “I don’t want to live in the past,but it’s a nice place to visit”. The disco era at it’s most musically vital represented a full channeling of Afro-Latin world music,big band jazz and the long form rhythms of funk. And it’s wonderful to hear that Chic and Nile Rodgers are still able to pull it all together so wonderfully!

Leave a comment

Filed under 2015, Bernard Edwards, Chic, Daft Punk, Disco, Funk, Funk Bass, Get Lucky, Jerry Barnes, Luther Vandross, Nile Rodgers, nu disco, Pharrell Willaims, Ralpe Rolle, Sam Smith, Sister Sledge, Tensnake

Anatomy of THE Groove 11/21/2014 Andre’s Pick: “White Collar Crime” by Grace Jones

1986 was a crucially important year for funky music in the decade. The electro/synth based sound that tended to be the dominant force in the music within the past few years were giving way to a sound where electronic instruments were being used as accents to either a fully organic or organic sounding instrumental bed. This came to prominence with songs such as Prince’s “Kiss”,’Duran Duran’s “Notorious” and the  late and  great James Brown’s “Living In America”.  After leaving her original label Island and singing up with Manhattan  Records,she took a stab at co-production with Nile Rodgers for her first album on the label Inside Story. One of the songs on it that always caught my attention was “White Collar Crime”

The song begins with a slow,rolling shuffling beat that’s accompanied by a high pitched digital synthesizer playing a rather Asian style melodic phrase. Grace’s vocals than kick in with Nile’s guitar providing a subtle accent to the lyrics which,through a series of different stories,illustrates the songs chorus of “white collar crime/you don’t have to do time/blue collar crime/you do time every time”-sung to lower volume horn chart/guitar call-and-response playing opposite melodic statements. On the bridge of the song,the horns scale up as grace asks “do they get away with it” before the drum emulator shuffle is let to solo with the horns fanfaring back into the original phrase-after which Nile himself is heard saying “it’s all the same” as Grace responds “it’s a money/power game”

Showcasing Mac Gollehon,Steve Elson and Lenny Pickett on horns and co-writer/instrumentalist Bruce Woolley on synthesizers? This song has a similar quality to Grace’s “Slave To The Rhythm” in the sense that it is what they call a runaway groove. This amounts to a form of dance/funk which has a light and understated instrumental quality-rhythmic enough for a strutting model but un-intrusive enough where it doesn’t interrupt the focus. Of course Grace Jones,being a former model,is a natural to produce a song in such a way. Not only that,but the lightness of the production and arrangement take away from how hard hitting a groove this actually is. And it’s hard hitting in more ways than one.

By this time? The Reaganomics policy of trick down economics and the Wallstreet/Gordon Gekko attitude of “greed is good” was starting to contrast with how American society actually seemed to be functioning. Especially when it came to foreign policy and black Americans. Grace Jones,twice a foreigner as a Jamaican woman having began who career out of Europe,than crossed over in the US,really made her comment very strongly here. Using tabloid/yellow journalistic expletives such as “it’s outrageous nobody cared” and “shocking,it’s all so mocking”? Jones makes lyrical points that would be made in far more direct ways by hip-hoppers such as Public Enemy and NWA in a short two years time. And that was already being explored by hip-hop by KRS-1 and Eric B & Rakim. And that’s basically the treatment of a wealthier criminal versus that of a smaller time hustler. Indeed Grace Jones and Nile Rodgers provide a very stylish groove out of the money/power game.

2 Comments

Filed under 1980's, Funk, Grace Jones, Hip-Hop, James Brown, Nile Rodgers, Prince, Public Enemy, Reaganomics